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VOLUME 18 NO. 1 March 2009 T contents

Volume 18 No.1 March 2009

3 EDITORIAL: SOMETHING FOR EVERYONE TAASA REVIEW Josefa Green THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 18 No. 1, March 2009 ISSN 1037.6674 4 HAND ME DOWN: PERANAKAN CHINESE BEADWORK AND EMBROIDERY Registered by Australia Post. Publication No. NBQ 4134 Hwei-Fe’n Cheah

editorIAL • email: [email protected] 7 AS AUSTRALIAN AS A SHAKUHACHI General editor, Josefa Green Riley Lee publications committee 9 THE DANCING MONKS OF BHUTAN Josefa Green (convenor) • Tina Burge Melanie Eastburn • Sandra Forbes • Ann MacArthur Tshering Tashi Jim Masselos • Ann Proctor • Susan Scollay Sabrina Snow • Christina Sumner 11 INDO-PERSIAN KINGSHIP AND ISLAMIC ARCHITECTURE IN MALAYSIA design/layout Matt Cox Ingo Voss, VossDesign

printing 13 INTERVIEWING STEFANO CARBONI John Fisher Printing Josefa Green Published by The Asian Arts Society of Australia Inc. 14 EXHIBITION REVIEW: IMAGINING HAMPI PO Box 996 Potts Point NSW 2011 Susan Scollay www.taasa.org.au Enquiries: [email protected] 16 PRESERVING BUDDHA AND THE SIXTEEN PROTECTORS TAASA Review is published quarterly and is distributed to members Andrea Wise and Melanie Eastburn of The Asian Arts Society of Australia Inc. TAASA Review welcomes submissions of articles, notes and reviews on Asian visual and 18 CONFUCIAN CONCEITS: KOREAN PAINTING IN THE JOSEON DYNASTY performing arts. All articles are refereed. Additional copies and subscription to TAASA Review are available on request. Jackie Menzies No opinion or point of view is to be construed as the opinion of 20 CHINESE BUDDHIST ART SYMPOSIUM: FINDING MEANING IN THE LOST BUDDHAS The Asian Arts Society of Australia Inc., its staff, servants or agents. John Millbank No claim for loss or damage will be acknowledged by TAASA Review as a result of material published within its pages or in other material published by it. We reserve the right to alter 22 COLLECTOR’S CHOICE: MURAL ART OF KERALA or omit any article or advertisements submitted and require Vimala Sarma indemnity from the advertisers and contributors against damages or liabilities that may arise from material published. 23 BOOK REVIEW: PICTURES ON SILK All reasonable efforts have been made to trace copyright holders. Milton Osborne TAASA MEMBERSHIP RATES 24 RECENT TAASA ACTIVITIES $60 Single $90 Dual 25 TAASA MEMBERS’ DIARY $90 Single overseas (includes postage) $30 Concession (students/pensioners with ID) $95 Libraries (overseas, $95 + $20 postage) 26 WHAT’S ON: MARCH – MAY 2009 $195 Corporate/institutional (up to 10 employees) $425 Corporate/institutional (more than 10 employees) $650 Life membership (free admission all events)

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Hanaman Temple on Hemakuta Hill. Hampi, India. Photo: John Gollings. [email protected]

See Susan Scollay’s exhibition review “Imagining Hampi” on pages 14 & 15. The deadline for all articles for our next issue is 1 APRIL 2009 A full Index of articles published in TAASA Review since its beginnings The deadline for all aDvertising in 1991 is available on the TAASA web site, www.taasa.org.au for our next issue is 1 MAY 2009

2 TAASA committee EDITORIAL: SOMETHING FOR EVERYONE

Josefa Green, Editor

Judith Rutherford • President The topic of ‘adornment’ will feature strongly his distinguished career, including as Curator Collector and specialist in Chinese textiles this year: at VisAsia’s lunchtime lecture series and Administrator of the Department of Gill Green • Vice President at the AGNSW, where TAASA will also run Islamic Art at the Metropolitan Museum, New Art historian specialising in Cambodian culture a seminar on jewellery on 25 July, and as part York, Dr Carboni has been responsible for ANN GUILD • TREASURER Former Director of the Embroiders Guild (UK) of the NGV’s coming exhibition on Chinese such ground breaking exhibitions as “Venice KATE JOHNSTON • SECRETARY imperial robes. So it seems appropriate for and the Islamic World: 828- 1797” in 2007. Intellectual property lawyer with this first issue of 2009 to open with an article He tells us that his principal interest lies in an interest in Asian textiles on embroidered and needle worked objects exploring the way Islamic art and culture has JOCELYN CHEY of adornment, as found in the 19th and early provided a bridge between East and West. Visiting Professor, Department of Chinese Studies, 20th century homes of any respectable nyonya University of Sydney; former diplomat or female member of the Peranakan Chinese Susan Scollay’s review of the Hampi exhibition Matt Cox Study Room Co-ordinator, Art Gallery of New South community in Singapore. Hwei-Fe’n Cheah at the Immigration Museum in Melbourne Wales, with a particular interest in Islamic Art of has completed her PhD on this topic and also touches on cross cultural influences, in Southeast Asia offers us a comprehensive overview of this this case in relation to the Hindu kingdom Philip Courtenay art form, now on show in the newly opened of Vijayanagara, which stood for over 200 Former Professor and Rector of the Cairns Campus, James Cook University, with a special interest in Singapore Peranakan Museum. years on the frontier of India’s Hindu and Southeast Asian ceramics Muslim cultures and which was eventually MELANIE EASTBURN In this issue we offer a number of “firsts”. In destroyed by its Mughal neighbours in Curator of Asian art, National Gallery of Australia the intriguingly named article “As Australian 1565. This exhibition is also a ‘first’ in the Sandra Forbes as a Shakuhachi”, first time contributor Dr way it draws on archaeology, photography, Editorial consultant with long-standing interest in South and Southeast Asian art Riley Lee describes how this traditional computer animation and interactive media Josefa Green Japanese flute has become “internationalised” to bring the village of Hampi, within the General editor of TAASA Review. Collector of Chinese through a series of world festivals over the last ruins of the Vijayanagara kingdom, to vivid ceramics, with long-standing interest in East Asian 15 years, culminating in the highly successful life. An example of John Gollings’ brilliant art as student and traveller Sydney World Shakuhachi Festival in 2008. photography, taken from the Hampi exhibition, GERALDINE HARDMAN Collector of Chinese furniture and Burmese lacquerware Riley became the first ever non-Japanese is demonstrated on the cover of this issue. shakuhachi Grand Master in 1980 and we are ANN PROCTOR Lecturer in Asian Art, Sydney University really delighted to have such an outstanding Enthusiasts of East Asian art will be interested and the National Art School, Sydney musician share his expertise. in the next three articles on Japanese, Korean ANN ROBERTS and Chinese topics. Andrea Wise and Melanie Art consultant specialising in Chinese You will also find our first ever article from Eastburn from the NGA cover, respectively, ceramics and works of art Bhutan, contributed by Tshering Tashi, the conservation and art historical aspects SABRINA SNOW Has a long association with the Art Gallery of New co-founder and director of the Australia of the NGA’s Kamakura period (1185-1333) South Wales and a particular interest in the arts of China Bhutan Friendship Association. He describes scroll “Buddha and the sixteen protectors”. CHRISTINA SUMNER the extraordinary dance rituals performed by This scroll has recently been restored courtesy Principal Curator, Design and Society, Buddhist monks in festivals across Bhutan. of the Japanese Government and will be Powerhouse Museum, Sydney His account encourages us to see beyond the exhibited in the AGSA’s exhibition “The Hon. Auditor Rosenfeld Kant and Co spectacle, to understand the deeper sacred and Golden Journey”, opening 6 March. meditative purpose of these ritual dances. state representatives Another important exhibition, opening 5 Australian Capital Territory Another first time contributor is Matt Cox March at the AGNSW, is “Korean dreams”, Robyn Maxwell from the AGNSW, providing an interesting featuring late Joseon dynasty paintings from Visiting Fellow in Art History, ANU; Senior Curator of Asian Art, National Gallery of Australia perspective on the influences shaping Islamic the Musée Guimet, Paris. Jackie Menzies,

Northern Territory architecture in Malaysia. He convincingly head curator of Asian Art, explains how neo- Joanna Barrkman argues that, though the presence of Indian Confucian and other influences produced Curator of Southeast Asian Art and Material Culture, and Persian influences has more usually been a broad new repertoire of paintings in this Museum and Art Gallery of the Northern Territory explained as the peripheral consequence of period. These will be featured in this exhibition Queensland English intervention in the 20th century, three and discussed at a study day on 7 March. In Suhanya Raffel 18th century Malaccan mosques demonstrate the last of this trio, Dr John Millbank reports Head of Asian and Pacific Art, Queensland Art Gallery much earlier Indo-Persian influences of the on the Chinese Buddhist Art symposium South Australia Deccan kingdom of Bidjapur, that flourished held in August 2008 in conjunction with the James Bennett Curator of Asian Art, Art Gallery of South Australia from 1490 to 1686. AGNSW’s exhibition “The Lost Buddhas”. Victoria Carol Cains This Islamic theme is echoed by the interview A general issue of the TAASA Review provides Curator of South and Southeast Asian Art, I was privileged to have with Stefano Carboni, an opportunity to offer a diverse range of topics National Gallery of Victoria International newly appointed Director the Art Gallery of to our readers. No matter what your interests, TASMANIA Western Australia and Islamic Art expert. In you should find a number of items to enjoy. Kate Brittlebank Lecturer in Asian History, School of History and Classics, University of Tasmania

3 HAND ME DOWN: PERANAKAN CHINESE BEADWORK AND EMBROIDERY

Hwei-Fe’n Cheah Purse, Penang (Malaysia), early 20th century, glass seed

beads, thread, fabric; bead embroidery, 10.4 x 10.5 x 2 cm.

Collection of the Peranakan Museum Singapore he world’s first textured ‘beaded’ stamp Fine, even stitching was a key criterion of T was released by the Singapore Philatelic quality, as refinement (halus) was much Bureau in April 2008. One of a set of stamps coveted by the nyonya, and mastery of issued with designs of Chinese auspicious execution was demonstrated, not through the motifs from the Peranakan Museum’s nyonya range of stitches but an abundance of detail, needlework and porcelain collection, it not so that clarity of design was often subsumed only celebrates the collection forte of the by the busy background patterning. Kneepads museum but also reinforces the iconic value were worn at wedding ceremonies where the of nyonya needlework. Its novel surface couple knelt to pay respects to ancestors and texture of ‘caviar beads’ highlights the elders. Yet even though they were hidden tactility of the medium (Singapore Post & under tunics and skirts and seen by few, their Peranakan Museum 2008). The image on the elaborate embroidery attests to the love of stamp, which is a detail from a vintage nyonya surface detail. Perhaps it was the restricted beadwork purse, emphasises the rich surface visibility of such embroideries that added detail and meticulous craftsmanship that to their potency as extravagant yet discreet have become hallmarks of the domesticity indicators of the giver’s awareness of halus. and industry of the stereotypical Peranakan Chinese woman, the nyonya. and extent of needlework skills, an account of The range of motifs in late 19th and early nyonya life from 1913 explains that ‘cooking 20th century nyonya needlework is limited. Peranakan Chinese society emerged from and sewing … are essential accomplishments The frilly-petalled peony, sometimes flanked the pre-19th century acculturation of the to achieve, without which she [the young by a pair of phoenixes, bird of the south immigrant Chinese populations in Sumatra, nyonya] has scant hope of securing a and herald of prosperity, was one of the Java and the Malay peninsula. The material good match. …Her sewing comprises the most popular. The peony symbolised spring, culture of the Peranakan Chinese incorporates embroidery of slippers, pouches, belts & beauty and wealth and was applied to both elements that reflect their Chinese ancestry, c., which form features of a Chinese girl’s men’s and women’s accessories despite its partial integration into local society and trousseau’ (Lee 1913) association with femininity. Imagery of fauna settlement in trading ports that increasingly – the mythical qilin (a composite animal came under European domination. Nyonya Embroidered and beaded slippers were sometimes likened to a unicorn), squirrels needlework encompasses silk thread customarily presented by the bride’s and deer – were clearly based on Chinese embroidery, metallic thread embroidery family to the groom’s family at lap chye, archetypes but sea creatures and birds often and beadwork. All three types of nyonya the ceremonial wedding gift exchange. metamorphosed into unidentifiable creatures needlework draw from Chinese motifs, while Dozens of pairs of needlework slippers were that functioned simply as generic auspicious metallic thread embroidery has close technical also displayed in the nuptial chamber ‘so emblems. Whereas motifs such as the butterfly parallels with Malay raised metallic thread strategically … that for anybody entering the and paired goldfish persisted as conventional embroidery (tekat timbul). room they commanded immediate attention symbols of marital bliss, the subtler rebuses and admiration’ (Gwee 1985:52; see also which intensified their significance were Women played a key role as ‘arbiters’ of Lee & Chen 1998:74). Whether they were unlikely to have been appreciated by the Peranakan Chinese culture through food, embroidered by the bride or purchased, large nyonya, not schooled in Chinese language. women’s dress, and the vernacular spoken numbers of slippers stitched with glossy silk Figurative imagery based on Chinese myth in the home. Nyonya needlework was not floss and expensive metallic-wrapped threads and legend is also surprisingly rare, although exclusively created by Peranakan Chinese alluded to the family’s financial standing. there are no proscriptions against figural women but beadwork and embroidery were Luxurious kingfisher feather was sometimes representation. domestic textile arts in which many young incorporated as delicately couched outlines, nyonya from across the social spectrum were giving a subtle definition to the motifs in A family’s taste and discernment was put on trained. While it probably exaggerates the role metallic thread embroideries. display in the décor of the nuptial chamber which wedding guests were invited to view. Needlework occupied a prominent part of the decoration, ranging from diminutive embroidered covers for containers to lavish textiles best represented by a magnificent beaded table-cover. In a style typical of early 20th century nyonya beadwork from Penang, individually composed bouquets and birds amidst flowers and foliage based on Berlin woolwork patterns are arranged around a central design, emphasising the decorativeness of the motifs. The blue Women’s slippers, Palembang, Sumatra (Indonesia), late 19th - early 20th century, velvet, cotton fabric, silk fabric, leather, metallic-wrapped thread, silk floss, cotton thread, cardboard; embroidery, left pair 22.5 cm (l) each; right pair 23cm (l) each.

Collection of Don Harper, Indonesia 4 TAASA REVIEW VOLUME 18 NO.1 Detail from a belt purse showing couched metallic-wrapped thread and kingfisher feather, Melaka (Malaysia), c. 1905,

silk velvet, gimp cord, silk floss, cotton thread, metallic-wrapped thread, sequins, glass seed beads, kingfisher feather,

cardboard; couching, appliqué, 13 x 9 cm. Private collection, Singapore

garments, crockery and decoration, sold metallic-thread embroidered slippers for between 15 and 18 Malayan dollars in the late 1940s, approximately equivalent to 250 to 300 Malaysian Ringgit in 2008 (Grace Saw personal communication 2008). Ultimately, however, the changes to lifestyle, expansion in career opportunities for women, and the difficulty of obtaining appropriate supplies of thread, beads, fine needles and canvas all contributed to the diminishing importance of nyonya needlework. Vintage needlework ornaments and accessories were relegated to the hidden corners of cupboards or found their way to antique shops, and eventually to collectors’ treasure chests and museums.

If the fate of nyonya needlework mirrored the fortunes of Peranakan Chinese culture in the mid 20th century, the revival of interest in beadwork and embroidery in the last 15 years serves as a gauge of the growing appreciation of Peranakan Chinese material culture today. A mixture of nostalgia, multiculturalism and the search for autochthonous identities has led to the re-appraisal of the community’s material heritage. Peranakan Chinese culture, described by Datin Seri Endon Mahmood, the late first lady of Malaysia, as a ‘fascinating amalgam of different cultural elements’ is now celebrated by state institutions and the Peranakan Chinese community alike (Endon ground is a distinguishing feature of Penang spaniels were borrowed with minimal 2002:42). beadwork, with 20th century beaded examples modification from a woolwork repertoire ranging from vibrant cerulean through to sky popular in Europe a half century prior. In In April 2008, the Peranakan Museum in blue. Similar ground colours appear in 19th the early 20th century, needlework continued Singapore opened its doors to the public century European beadwork pictures. to be taught in the home but as formal after more than three years of planning. education was increasingly embraced by the The new Peranakan Museum was preceded Nyonya beadwork, which may have Peranakan Chinese, the young nyonya also by the permanent galleries of Peranakan developed as a time-saving alternative to learnt plain sewing, crochet and embroidery Chinese culture in the former National silk thread embroidery, was facilitated by in the classroom, stitching designs such as Museum of Singapore (now the Singapore the availability of European materials (Eng- flower baskets. From the 1920s, cute and History Museum) and the Asian Civilisations Lee 1989:26). Over half of the glass beads innocuous Western imagery from nursery Museum. After the Asian Civilisations imported into Penang, Melaka and Singapore rhymes and children’s tales was adopted as Museum, which was initially located in the between 1918 and 1937 were from Germany beadwork motifs, reflecting the increasing former Tao Nan School on Armenian Street, and Austria, major producers of glass seed access of the nyonya to illustrated books, moved to spacious new premises at Empress beads (Straits Settlements Blue Books 1918- magazines and film. Place in 2003, the old school building was 1937). The nyonya penchant for beading on given over to the Peranakan Museum. Dating counted thread canvas, originally a base As décor changed, the heavy embroidered from 1910, the building had been constructed fabric for Berlin woolwork, seems to have bed-curtains and table-covers were substituted on land acquired through the largesse of Oei taken hold most enthusiastically in Penang. with lighter lace furnishings. The majority of Tiong Ham, a Peranakan Chinese who was Counted thread canvas could be purchased extant nyonya embroideries from the late dubbed the ‘sugar king’ of the Netherlands in Penang from stores such as Robinson & Co. 1930s are beaded and embroidered slippers Indies. The school also counted Tan Tock by the late 1880s, and probably also through and women’s purses. From this time, cartoon Seng, another prominent Peranakan Chinese the itinerant haberdasher from whom most characters such as Betty Boop and the Seven philanthropist and donor to the eponymous nyonya obtained their needlework supplies. Dwarfs proved popular for footwear, even hospital in Singapore, amongst its founders amongst adults, underscoring the familiarity (Kwok 2008). While Chinese cross-stitch pattern books with and appeal of Western popular culture. At designs for Chinese orchids, phoenixes and the same time, metallic thread footwear The museum has expanded the ambit of pomegranates were available to the Penang produced in ‘traditional’ Chinese designs previous displays in several welcome nyonya, they almost invariably selected motifs continued to be made for the wedding gift directions. Peranakan simply means ‘locally- with a European association. Designs of busts exchange. Khoon Giap Co., a well-known born’ and the term includes not only the of stags, fluffy kittens and King Charles supplier in Penang of high quality wedding Peranakan Chinese but also Indian Muslim

TAASA REVIEW VOLUME 18 NO.1 5 Pair of wedding knee pads, Melaka (Malaysia), late 19th -early 20th century, silk, velvet, metallic thread, sequins;

embroidery, appliqué, 11 x 26 cm each. Alice Smith collection, National Gallery of Australia. Image courtesy of

the National Gallery of Australia The re-evaluation of nyonya needlework as a receptacle for personal memory and communal heritage ensures the conservation of beadwork and embroideries. Although silk and metallic thread needlework is rarely carried out today, considerable effort is being made by members of the Peranakan Chinese community to perpetuate nyonya beading skills and recover forgotten techniques. However, as change spurs creativity, the potential of the nyonya needlework handed down through generations to inspire contemporary interpretations, new visions and become a resource for the imagination is waiting to be unlocked. A new chapter for nyonya needlework may need to be written.

Hwei-Fe’n Cheah completed her PhD thesis on nyonya beadwork in 2005.

REFERENCES

Ee, R., Henkel, D.A. & Tan, H. 2008: Peranakan Museum A-Z. Asian Civilisations Museum, Singapore. Eng-Lee, S.C. 1989: Festive Expressions: Nonya Beadwork and Embroidery. National Museum, Singapore. Endon Mahmood, Datin Seri 2002: The Nyonya Kebaya: A Showcase of Nyonya Kebayas from the Collection of Datin Seri Jawi Peranakan and Indian Hindu Chitty Provocatively named ‘Junk to Jewels’, it drew Endon Mahmood. The Writer’s Publishing House, Selangor Darul communities. In its introductory gallery on together works borrowed from Peranakan Ehsan. the ground floor, the Museum clarifies the Chinese families – from heirlooms in the Gwee, T.H. 1985: A Nonya Mosaic. Times Books International, terminology and weaves the histories of the form of knighthood medals and specially Singapore. different Peranakan communities, albeit still commissioned silverware to business Kwok, K. 2008: Foreword, in Ee, R. et al., Peranakan Museum A-Z. Asian Civilisations Museum, Singapore, pp. 9-14. perfunctorily, into a broader canvas of local correspondence and mundane wooden Lee, C.N. 1913: ‘The Chinese Girl in Singapore’, The Queen, The settlement and acculturation in Southeast Asia. cake moulds. Through these ‘biographied’ Lady’s Newspaper, 27 September. objects the exhibition sought to interrogate Lee, P. & Chen J. 1998: Rumah Baba: Life in a Peranakan House. The Museum’s remaining two floors house the boundaries, not always well-defined Singapore History Museum, National Heritage Board, Singapore. the permanent galleries of Peranakan Chinese or understood, of what we now accept as Singapore Post & Peranakan Museum 2008: ‘Eclectic and Colourful culture. Drawing on the state-owned collection Peranakan Chinese culture. Five sets of Peranakan Culture Decorates New Stamp Issue’, press release built up over some 40 years, currently held vintage and contemporary beadwork and dated 7 April, accessed from http://www.singpost.com/downloads/ media/press_release/08/PR20080407.pdf, 7 December 2008. by the Singapore National Heritage Board, embroidery were included. To their owners, the Museum confidently boasts the most it is the handcraft embedded in their creation Straits Settlements, Blue Books, 1918-1937. comprehensive public display of Peranakan and their particular personal histories that Chinese material culture. This is augmented vivify these nyonya needlework objects with with recent acquisitions, donations and intimate meaning and value. loans. Works range from granite mortars and pestles for everyday cooking to contemporary paintings by Peranakan Chinese artists, Martin Loh and Desmond Sim, who look to Peranakan life for inspiration (see Ee et al. 2008). The breadth of the displays is instructive, if sometimes discomforting to view to strains of reconstructed Peranakan Chinese ‘conversations’ (including the plaintive wailing that accompanies the funeral exhibit). However, the consistently high quality of the works cannot fail to impress. The permanent exhibits of beadwork and embroideries count among the highlights and reveal the careful compositions and saturated colours of a dynamic nyonya aesthetic.

A special exhibition curated by Peter Lee, a Peranakan Chinese art historian, was on display for the Museum’s opening in April. Child’s slippers with a design adapted from May Gibbs’ Gumnut Babies, possibly Penang (Malaysia), c. 1930, glass seed beads,

cotton canvas, cotton thread, leather; bead embroidery, 23 cm (l) each. Collection of Lye and Lea, Singapore

6 TAASA REVIEW VOLUME 18 NO.1 As Australian as a Shakuhachi

Japan's Living National Treasure Reibo Aoki and WSF08 Riley Lee Artistic Director, shakuhachi Grand Master Dr Riley Lee are

acknowledged by the audience at City Recital Hall during

WSF08 in Sydney. Photo: Kirsty Beilhartz. he Sydney World Shakuhachi Festival 2008 The first of these festivals was held in Bisei- T (WSF08) was held on 4-8 July 2008. One of cho, Okayama-ken Japan in August 1994. the many Festival concerts had the enigmatic The brainchild of shakuhachi master Katsuya title, “As Australian as a Shakuhachi”. This Yokoyama, the three-day festival was a major article attempts to describe WSF08 and place step towards his goal of internationalising it in context, while exploring the meaning of the instrument. Yokoyama and his students this curious concert title. were motivated by the belief that for the shakuhachi tradition to survive, it had to WSF08 was the fifth major international develop beyond the narrow context of the shakuhachi event and the first held outside ryûha in traditional Japanese culture. of Japan or USA. Primarily a specialised music festival, it was also part conference Australian Shakuhachi Society, which Though called the International Shakuhachi Festival and part convention. Nearly 400 invited organised WSF08, had already produced seven and attended by a number of non-Japanese and shakuhachi (Japan’s classical bamboo flute) Australian Shakuhachi Festivals, the first in Japanese living abroad, the 1994 event was performers and registered participants from 1999. In 2007, the Sydney Conservatorium primarily by Japanese and for Japanese, and over 15 countries, plus an enthusiastic general of Music became the first tertiary music was, unsurprisingly, boycotted or ignored by public, attended over 70 events during the institution in the world to offer performance much of the Japanese shakuhachi community. Festival. Combined audience numbers were degrees in English on the shakuhachi. Nevertheless, it was the first event to include approximately 4,000. WSF08 was a major teachers and participants from most of the event by any standard. Yet, from an historical Countless Australian recordings now feature numerous sects and lineages of shakuhachi. perspective, it is quite remarkable that WSF08 the shakuhachi, which is also heard regularly was held at all, particularly in Australia. on Australian radio and in concert. Most Significantly, the Bisei event led to the World telling, Australians now routinely compose Shakuhachi Festival 1998. Held in Colorado, When I began studying the shakuhachi in Osaka for shakuhachi, both solo and in various USA over seven days and co-sponsored in 1971, shakuhachi players outside of Japan combinations of other western and non-western by the University of Colorado, this Festival were almost non-existent. Shakuhachi lineages instruments. Four new WSF08 commissions are was attended by over 300 American and and schools (ryûha) in Japan encompassed prime examples, but there are dozens more. international participants. Its approximately 20 nearly all of the shakuhachi community. These public concerts had a combined audience of over were so factionalised and exclusive, that a pan- With the successful convening of a weeklong 5,000, making it the largest such gathering ever lineage, all-inclusive gathering representing international event in Sydney in 2008, the to take place in the history of the shakuhachi. a majority of the shakuhachi ryûha was shakuhachi has become, in the first decade of Word of WSF98 spread, particularly in Japan. unimaginable. The concept of an international the 21st century, an established and essential Participants praised the event. Those not festival was even more far-fetched. part of the international musical landscape, attending began wishing that they had. particularly in Australia, transcending former In Japan in the 1970s, it was common for factional, sectarian and cultural divides. The Tokyo International Shakuhachi Summit shakuhachi students to be discouraged by 2002 was the third international gathering their teachers and colleagues from attending History of the International of shakuhachi players. Though smaller than concerts featuring players from other ryûha. Shakuhachi Festivals 1998, it went even further in bringing together This required little effort, as most shakuhachi International shakuhachi festivals were performers and students of the various students appeared to have little interest in a major impetus for the transition from a shakuhachi sects and lineages in Japan. Most listening to performances of repertoire from conservative, culture-specific, factionalised importantly, it established the tradition of a ryûha other than their own. It was not so music tradition to a relatively inclusive, regularly scheduled international shakuhachi much that the shakuhachi lineages actively international one. gathering. competed with each other, but rather as if they existed in separate universes.

Furthermore, a little over two decades ago in Australia, the shakuhachi was unknown and unpronounceable to all but a handful of mostly Japanophile enthusiasts. No professional shakuhachi teachers or performers lived in Australia and no Australian recordings featured it.

Much has changed in twenty years. Australia now has its own shakuhachi teachers, performers and instrument makers. The

Matthew Doyle (digeridu), karak percussion and Shzan Tanabe perform Ross Edwards’ Tyalgum Mantras at

Verbrugghen Hall during the Sydney World Shakuhachi Festival in July 2008. Photo by Kirsty Beilhartz

TAASA REVIEW VOLUME 18 NO.1 7 Shakuhachi players pose as “Priests of Nothingness” (komus) in a field of colour in Japan, ca 1994. Photo by Ken’ichi Nagata

as much as any other piece performed during the Festival.

Stuart Greenbaum: Life in a Day Shakuhachi solo (Kifu Mitsuhashi) and harp (Marshall McGuire).

Using the natural tuning of the shakuhachi, this duet features both flute and harp equally, in a setting influenced by jazz and lounge styles.

Elena Kats-Chernin: Fleeting Moment Shakuhachi solo (Chikuzan Namba) and string quartet (Grainger Quartet).

This chamber music composition highlighted the peaceful side of the shakuhachi, with a simple melodic line and minimal chord progressions. The 2004 New York Shakuhachi Festival had Shakuhachi players revere their solo, Zen approximately 50 classes, lectures, panel Buddhist meditation repertoire, the honkyoku ( The four pieces, all well received by exuberant discussions, workshops and concerts over a ‘original’ pieces). During WSF08, five concerts WSF08 audiences, typify the diversity and four-day period. Though its faculty comprised were devoted entirely to honkyoku, and seven adaptability of the shakuhachi and its ability of nearly as many Japanese as non-Japanese, of the ten main concerts featured honkyoku to perform within a wide range of musical participants were primarily residents of the performances. Additionally, sankyoku, styles and instrumentation. More importantly, USA and Canada. traditional Japanese ensemble music for these shakuhachi pieces are all contemporary shakuhachi, koto , shamisen and voice featured examples of Australian music. In addition to these four main international in numerous concerts and workshops. festivals, two smaller international gatherings Shakuhachi; an Australian musical have been convened in Bisei, in 2004 and in 2007. The primary significance of WSF08 however, instrument was not the showcasing of these important, long- The four new works commissioned by WSF08 Sydney World Shakuhachi Festival 2008 established musical genres. More noteworthy, are successful and original additions to a growing Performers, instrument makers, composers in my opinion, were the dozen world premiers shakuhachi repertoire by Australian composers. and Festival participants attended 10 main and as well as the many more contemporary pieces, Music is now being composed by Australians, 26 smaller concerts and over 35 workshops, which were performed. The Festival itself, and played by Australians on Australian-made seminars and lectures over four and a half days. with the support of the Australia Council for shakuhachi for Australian audiences. By any The Festival was preceded by an intensive the Arts, commissioned four new works, all definition, this is Australian music. workshop attended by 60 shakuhachi players by Australian composers. These and the other and teachers from around the world. new pieces for the shakuhachi are the main From being considered an exotic, foreign legacy of the Festival. musical instrument from ‘ancient’ Japan, the Most Festival events were held at the Sydney shakuhachi in 2008 is well on its way to Conservatorium of Music, a co-sponsor WSF08 Commissioned New Works becoming, while perhaps not as ‘Australian’ of WSF08. Potential buyers tried out new The four pieces commissioned by and as the didjeridu, arguably as ‘Australian’ flutes of various makers, who were set up performed during Sydney’s WSF08 were: and as contemporary as any other musical in the foyer with the Festival Shop, and immigrant to this country such as the piano performers and students made the most of the Dan Walker: Aftermath or guitar, the clarinet or trumpet. Conservatorium’s many practice rooms. For Two part shakuhachi ensemble and shakuhachi seven full days, the entire Conservatorium soloists x3 (Toshimitsu Ishikawa, Véronique Piron, Addendum: at the farewell dinner on the resounded with sounds of bamboo flutes. Michiaki Okada), taiko x2 (Anton Lock, Tom final night of WSF08, Yoshio Kurahashi , a Royce-Hampton, courtesy of TaikOz), marimba well-known Japanese shakuhachi teacher/ The superb musicianship heard in the Festival x2 (karak percussion), two children’s choirs, w/ performer, volunteered to convene the next performances was to be expected. After all, soloists (Sydney Children’s Choir and Gwandana World Shakuhachi Festival in Kyoto in 2012. the premier shakuhachi players worldwide, Voices). Aftermath, the Festival extravaganza with including Reibo Aoki , a “Living National a metaphoric cast of thousands, used Bernard Riley Lee began playing the shakuhachi in Japan Treasure” and master Junsuke Kawase were O’Reilly’s text full of vivid images of the built in 1970. In 1980, he became the first ever non- in attendance. Accompanying these first-class environment meeting the natural one. Japanese shakuhachi dai shihan (Grand Master). performers were some of the best musicians He received BA (music) and MA (ethnomusicology) in Australia, such as TaikOz, karak percussion, Matthew Hindson: Shakedown ¯ degrees from the University of Hawai’i and a PhD the Grainger Quartet, harpist Marshall Shakuhachi solo (Yoshio Kurahashi) and CD in musicology from Sydney University. He performs McGuire, didjeridu player Matthew Doyle, (pre-recorded sound). extensively worldwide, and over 50 of his recordings the Sydney Children’s Choir, Michael Askill’s have been released on international labels. Ian Trikaya and some of Sydney Conservatorium Inspired by the idea of a mugging, Shakedown Cleworth and Riley co-founded TaikOz in 1997. He of Music’s most talented students. stretched the boundaries of shakuhachi music teaches at the Sydney Conservatorium of Music.

8 TAASA REVIEW VOLUME 18 NO.1 THE DANCING MONKS OF BHUTAN

Tshering Tashi

The Dance of Death. At a tsechu or religious festival in the Thimpu valley, central Bhutan, monks perform

acrobatic dances relaying experiences of death. Photo: Tshering Tashi 2006 very year, in the stone courtyards of E temples and dzongs (fortified monasteries) across Bhutan, Buddhist monks dance to the rhythmic beat of cymbals, their monstrous masks in striking contrast to their colourful flowing robes of brocaded silk.

The chams or sacred dances of Bhutan are spiritual energies manifested through the skill of the monks who perform them. The endurance, acrobatic skills, mindfulness and dedication of these dancing monks make their dance a form of meditation. As one young disciple recently commented to me, ‘If you don’t use your mind to imagine and your heart to feel these dances, you will just see a group of monks jumping and swirling in the air.’ Or as Sir Basil Gould, a British Political Officer who visited Bhutan on various occasions between 1935 and 1945, observed: ‘To the visitor who lacked the inner knowledge the scene might be only a spectacle.’ and even the intrusion of professional fools such as the dorji (thunderbolt), remind us not [astras] from time to time was traditional and to have extreme views. The origin of the chams can be traced back had its symbolical meaning.’ Gould even to the eighth century, when the great made a Kodachrome cine film of the dancing For the monks, each performance is sacred and spiritual masters of that time choreographed monks and often watched the movements meditative. Prior to a festival, the dancers will various dances as a tribute to the Indian with complete fascination. have spent many days in the often dimly-lit monk Padmasambhava (Guru Rinpoche) who halls of sacred temples, jumping and swirling introduced Tantric Buddhism to Tibet and More than six decades after Gould’s visits to achieve perfection. On the final day, they Bhutan. Successive generations of spiritual to Bhutan, these festivals remain important wake at 3am to perform rituals lasting four teachers passed the dances down to their markers on the Bhutanese calendar. The hours, which help them to be mindful so disciples, and Buddhist institutions carefully dances continue to be the soul of Bhutan’s that their performance will have the desired preserved the dance traditions. For centuries major annual festivals (drupchens and tsechus), effect on its viewers. Clarity of mind is the these sacred dances flourished in Tibet also, which are seen as calls to prayer, contemplation most important thing for the dancers. Even but now Bhutan is the only country where they and reflection. Each Dzongkhag (district) in during performance, they continue to chant thrive unhindered. In Bhutan, great Buddhist Bhutan has its own tsechu; and while the teachers of the 15th and 16th centuries such months and duration of the festivals vary, all as Pema Lingpa and Zhabdrung Ngawang are commemorated on or around the tenth Namgyal, through their personal experiences day of the month in the Bhutanese calendar. and visualisations, infused the traditions with We Bhutanese believe that attending such a vitality and dynamism that makes them religious festivals will help us gain merit. uniquely Bhutanese. Secular leaders in Bhutan also patronised these dances: in the words of Being a dancing monk is not easy. Because Sir Basil Gould, ‘As a patron of dancing, the the dances are a form of complex meditation, Paro [the penlop or governor of the district of performance requires endurance and Paro] excelled.’ consistent practice. The symbolism of each dance is deep and intricate. Each costume, Over the ten year period 1935-45 during each swirl and movement, has significance which Sir Basil visited Bhutan, he was and carries religious messages reflecting intrigued by the dance festivals. He noted Buddhist core values of compassion, wisdom that some of them, which went on all day, and harmonious existence. For instance, a tiger were performed by both monks and troops skin on a costume indicates the suppression of the Paro penlop. He observed: ‘Dancing of passion; particular hand gestures show was held to be a soldierly and even knightly the victory of clarity over emotions; certain exercise. The dancers in their costly robes body movements tell of the combat between wore masks of gods, devils, beasts and enlightenment and ignorance. Some of the birds. Every mask and movement and tune, religious instruments held by the dancers, a monk performs the 'thunderbolt step' in the Dance of

the Black Hats (Shana cham) at Bumthang, Central Bhutan,

2008. Photo: (c) website www.bhutan2008.bt TAASA REVIEW VOLUME 18 NO.1 9 The magnificent dzong at Punakha, Bhutan, first constructed in the 1700s, dominates

the confluence of two rivers. Photo: Sandra Forbes 2006 various mantras to clear their minds, remove any distractions and help them attain the contemplative state required to remember the intricate gestures of the hands and the sophisticated movements of the body.

The painted eyes in the dancers’ masks are not pierced: the monks use the mouth opening to see. A piece of cloth wrapped around the head reduces some of the discomfort of dancing with such heavy accoutrements, but even after long performances you will not hear a word of complaint. Performed to the sound of cymbals rung by the spiritual master, the dances are so sacred that often it is not surprising to see many spiritual masters performing them together. One such spiritual master from Kurjey monastery in Bumthang has said that he has only been able to represent the position and expressions of IMAGE TO BE SCANNED the deities he portrays because of many years of vigorous mental and physical training.

It is through this graphic portrayal of Lord of Death; this story reminds us of the religious stories that we are reminded of our forces of karma, whereby all positive actions impermanence. One popular story dramatised lead to happiness while negative actions lead in dance in tsechu is that of Chhoeji Gyalpo, a to suffering. At the end of the day, we return hunter who upon his death faces Yama the home knowing that we are the architects of our own destiny and also reconfirmed in our belief that we cannot escape from the consequence of our actions. IMAGE TO BE SCANNED So it does not come as a surprise to witness farmers taking a break from their mundane daily farm work to dress up in their best attire, cook their finest food, and then assemble in the stone courtyards of the dzongs or temples. The farmers and other Bhutanese watch these dances with great interest, devotion and reverence. For most of us, these visual stimulations are powerful enough to shape our imagination and perception of the world.

These days, at the height of Bhutan’s short tourist season, festivals in the Bumthang valley, the spiritual heartland of Bhutan, Interior courtyard of the dzong at Paro, can draw hundreds of people from around where sacred dances (cham) are performed during festivals. the world. They join the Bhutanese in Photo: Robin White 2006 witnessing sacred dances such as those held at the spectacular Kurjey lhakhang (monastery these dances that we now appreciate this complex) or at rural Nimalung village. As aspect of our own culture. Today, however, one 70-year-old farmer said to me at such Bhutanese schools no longer teach these a festival recently: ‘Festivals such as the dances - and I often wonder why. drupchen are the windows to the heart of our Bhutanese culture.’ For other spectators the Tshering Tashi lives in Thimphu and is the sacred dances offer a glimpse into the sacred co-founder and the director of the Australia world of the monks and help the devoted Bhutan Friendship Association. His book, Jesuits to to embark on an inner experience of our Jetsetters: Bold Bhutan Beckons, co-authored with country. Tim Fischer, has just been published.

When I was a high school student in Bhutan in the late 1980s we learned these dances as part of our extra curriculum. It is through learning

10 TAASA REVIEW VOLUME 18 NO.1 INDO-PERSIAN KINGSHIP AND ISLAMIC ARCHITECTURE IN MALAYSIA

Matt Cox Seven storied throne illustration from the Nadjum al-Ulam, (1570-71,

Bidjapur), Chester Beatty Library, Dublin, Ms.2, folio 191.

Sourced from Hutton, Deborah 2005, p74.

iscussion on the appearance of Indian of “just kingship” which D and Persian elements in the Islamic was widely recognised architecture of Malaysia usually focuses on throughout central and the 20th century influences brought about South East Asia by the end by English intervention. Within Malaysia the of the 16th century. It is general understanding is that Indian Islamic extensively reiterated in architecture arrived on the peninsula as a many Persian and Indian peripheral consequence of British involvement texts like the Shah Nama, such as the large-scale transportation the Nudjum al-Ulum, Aqa’id of Indian workers and the creation of a Al-Nasafi and a similar British-Malaya national architecture. Prior Malay version known as to the establishment of the Malay sultanates Tajus Salatin. as independent polities in the early 15th century, the Indianised Hindu empire of Sri In Hutton’s article on Jaya centred in Palembang, Sumatra held Bidjapur architecture considerable cultural and political influence (Hutton 2005), she discusses over the Malaysian peninsula. As such, many the codification of royal scholars have drawn a relationship between status in the construction the older Indian Hindu architectural influences of buildings that stand to and the succeeding Islamic tradition, however remind the viewer of the little attention has been given to Indo-Persian king’s justness and elevation influences contemporaneous with the towards the heavens, and development of the Malaccan sultanate. This interprets the buildings as a article will explore the idea that components physical homage to the Adil of three 18th century mosques in the port Shahis. She opines: town of Malacca do in fact exhibit design features inspired by the Indo Persian kings “Bidjuapur visual and their legacies. identity was, literally and metaphorically, Shokoohy, in her study of Muslim architecture being carved in stone. in India, dedicates a chapter to the mosques Further evidence that of Malabar, India and their intersection the buildings meant to with South East Asia (Shokoohy 2006). The convey courtly identity similarities between the construction of the is the fact that many of the motifs are Malaccan mosques in their repetition of the mosques on either side of the Indian Ocean concentrated on the rooflines of the crown motif that reiterates the presence and attest to such an exchange. As with the buildings. This creates distinct skylines significance of the “Just King” within the Malaysian mosques, those of the Malabar that would have been visible from afar religious arena. Written only 50 years after Coast contain a second story platform built and thus recognisable to a large number the Nudjum al-Ulum in 1603, the Tajus Salatin into the pitched roof from where the call of people…”(Hutton 2005:75) was written in Aceh, Sumatra in the Malay to prayer could be voiced and alternatively language and was adopted by Malay rulers which could function as administrative Hutton then examines the illustrations that as a guide to “just kingship”. halls or as a madrasa. Other shared features accompany the texts on kingship and compares such as the inclusion of tiered roofs and the verticality of the visual imagery to The authority of the Tajus Salatin was reinforced the construction of the mosques along a architectural structures. One such illustration by its authors’ claims to divine inspiration. As directional axis suggest that at some stage taken from the Nudjum al-Ulum, a Bidjapur such the text, its subject, the Adil Shah or the “Just the mosques of the Malabar Coast and those manuscript written and illustrated in 1570/71, King” and the king himself as its manifestation of Malaysia shared a common genealogy. It proposes a cosmological hierarchy that places all came to be religiously significant. The is possible that these similarities are in fact the Muslim sultan atop a tiered pyramid of king’s royal identity was effectively linked to a the architectural legacy of the Indo-Islamic human cultivation. Sitting on the layered throne new Islamic one, which meant that religiously Deccan kingdom, Bidjapur that flourished the king’s head meets the peak of a decorative significant events were now privileged with under the control of the Adil Shahis (“Just mountain, above him again is a canopy of lotus royal attendance to sanctify the occasion. For Kings”) from 1490 to 1686. leaves and then a crown-like shape that takes on example in certain areas, Friday prayers were a three dimensional quality, seemingly sitting honoured by a public royal procession to the In the reign of Ibrahim Adil Shah 1 the term on the drawing as if on a rooftop. Mosque and Muslim celebrations like Idul Adil Shah came into use and was later given Lfitr after Ramadan, the month of fasting, were to kings respected and popular for their fair A parallel relationship can be seen between marked by royal public feasts. (Reid 1993:106) and just rule. The term also defined a manner the Tajus Salatin manuscript and the three

TAASA REVIEW VOLUME 18 NO.1 11 Illustration of Persian crown.

Kampung Hulu mosque crowned rooftop. Photo: Matt Cox Sourced from Braginsky, V.I. 2000, p200

The extended peak of the throne penetrates the skyline. Architecturally the same effect is achieved by the rooftop crowns of the Braginsky in his analysis of the Tajus Salatin When examined closely, the crown motif that mosques that mark their place in the roofline argues that the structure of the book follows asserts itself atop the mosques of Malacca of the township and stand boldly against the that of a Persian crown. By analysing its equally meets Braginsky’s description. For background of the sky, reiterating the link composition, the number of chapters and their example the crown of Kampung Hulu Mosque between the “Just Kings” and the divine. order within the book, he suggests parallels exhibits all the characteristics of a Persian with the components of the crown starting crown: a four folded diadem and tiara with Although such correlations may not extend from the circular base and methodically a radial structure topped with a spherical to the entirety of the Islamic kingdoms of ascending to the jewels and plume. Braginsky green glass jewel. This is also the case with South East Asia or even to the breadth of writes of the form of a Persian crown: the crowns from Kampung Kling mosque and the Malaysian Peninsula, the persistent Kampung Tengkera mosque. appearance of the crown motif within the “… the Persian crown is a centered, radial Malaccan mosques seems to demonstrate a construction. Usually it consists of a four- Furthermore the same crowned mountain like codification of the Islamic treatises of the Adil folded diadem and a tiara or round cap, form is repeated in the structure of the minbar Shah, consistent with Indo-Persian traditions. the uppermost point of which is marked or pulpit. The pulpits found in all three with an ornament (a plume, a jewel, etc).” Malaccan mosques consist of an ornately Matt Cox is the Study Room Coordinator at the Art (Braginsky 2000: 201) carved seated platform raised from the ground Gallery of New South Wales, he has an interest in by steps. The carved pulpit crown has an Islamic art of Southeast Asia and is a PhD candidate uncanny resemblance to the thrones of Indo at the University of Sydney where he is commencing Persian rulers and religious leaders depicted research on portrait painting in Indonesia. in miniatures and illuminations, take for instance an illustration of the throne of King REFERENCES Faridun illustrated in the Shah Namah. In this Braginsky, V.I. 2000. ‘Tajus Saltin (‘The Crown of Sultans’) of exquisite example, Faridun sits comfortably Bukkhari al-Jauhari as a canonical work and an attempt to create a within a walled throne. Steps lead up to the Malay literary canon’ in Ed. Smyth, David, The Canon in Southeast Asian Literatures, Curzon, England, pp 183-209. elevated throne, positioning the king above Hutton, Deborah, ‘Carved in Stone; The Codification of a Visual his subjects as the minbar raises the Imam Identity for the Indo-Islamic Sultanate of Bidjapur’, Archives of Asian above the devotees. In fact, as identified by Art, IV/2005, Brepols, Belgium, Produced by the Asian Society.

Reid, the king’s role in South East Asia was Reid, Anthony.1993. ‘Kings, Kadis and Charisma in the 17th constituted by the dual expectation of leading Century Archipelago’ in Ed. Reid, Anthony, The Making of an Islamic the people in both politics and religion: Political Discourse in Southeast Asia, Monash Papers on Southeast Asia-No. 27, Monash University. “It was the king who resolved religious Shokoohy, Mehrdad. 2003. Muslim Architecture of South India, disputes, exercised censorship and Routledge Curzon, London. imposed Islamic law. Religious officials, particularly judges (kadi) were appointed by the king….” (Reid 1993:105)

Above Faridun’s head is a suspended triangular shaped canopy that echoes the mountain forms of the Malaccan pulpits.

Pulpit from Kampung Kling mosque. Photo: Matt Cox

12 TAASA REVIEW VOLUME 18 NO.1 INTERVIEWING STEFANO CARBONI

Josefa Green

Stefano Carboni at the Metropolitan Museum,

New York, 2007

r Stefano Carboni was appointed Director Q: Moving to the AGWA after 16 years D of the Art Gallery of Western Australia at the Metropolitan Museum must present (AGWA) in August 2008 following 16 years at interesting contrasts if not challenges. How the Metropolitan Museum of Art, New York, would you compare working in these two most recently as Curator and Administrator institutions? of the Department of Islamic Art. He has also been Visiting Professor of Islamic Art, The A: I can’t directly compare my roles. As senior Bard Graduate Center for the Decorative Arts, curator at the Metropolitan Museum, my New York. He has a Ph.D in Islamic Art and focus was academic and I needed to keep up Archaeology at the School of Oriental and in my field, organise exhibitions, give lectures African Studies, University of London, and a and so on. As Director of AGWA, I have to BA/MA in Arabic Language and Literature exercise a leadership role and I also have to and Islamic Art at the University of Venice. be administrator, fundraiser and ambassador. He is author of over 10 books and 40 articles This switch to a managerial career was a and has lectured extensively throughout USA, natural step for me and came at the right example in New York, have taken on a more Europe and Asia. moment from a professional and family point educational role and I feel strongly about this. of view. Our relationship with Indonesia also offers Below is a summary of a recent telephone challenges and is one aspect of this job that interview he gave with TAASA editor, Q: You have previously commented that one of attracted me. Josefa Green. your key goals as Director is to raise AGWA’s profile nationally and internationally. Do you My courses to date, for example at the Bard Q: Looking back at the many exhibitions, have a sense of how this can be achieved? Graduate Center for the Decorative Arts in publications and lectures you have been New York, have tended not to be very specific. involved with in the Islamic art field, what A: My aim is to increase AGWA’s profile across Rather, I have tried to focus on the interaction are you most proud of? the board. It may be through acquisitions, between the Islamic world, Europe and Asia. special exhibitions, or through our Website. This constant exchange between cultures, A: The culmination of my career was “Venice The current economic crisis means our which offers a wider perspective to students, and the Islamic World: 828 - 1797”, the last ambitions may have to be somewhat curbed. is an area I would especially like to cover. exhibition I organised at the Metropolitan Private donations have now slowed down, so Museum in 2007. My very first lecture as a we may have to wait for the next resources Q: Are there other areas of Asian art that you student at the University of Venice was on the boom! Meanwhile, we will need to be as think should be more strongly represented relationship between Venetian and Islamic creative as possible. Our curators have been at AGWA? glass. So I jumped at the chance to explore the asked to come up with specific acquisition artistic and cultural relationship between the plans designed to fill gaps in our collection, A: Asian art is relatively new territory for Islamic world and the West. It was the most but realistically, we will be focusing on raising the AGWA. As our strength is in modern complex exhibition I’ve ever staged, with our profile through special exhibitions. We and contemporary art, it is likely that we will over 60 lenders and three venues (Paris, New are likely to work to strength, building on our aim to broaden our range through moving York and Venice). It was also very ambitious Australian/WA contemporary art collection, into contemporary Asian art. Whether we do in providing a complete overview, centring including Indigenous art. this through exhibitions or acquisition is still on the 15th to 17th centuries when there was unclear. major contact between the West and Mamluk Q: Islamic Art is generally not strongly Egypt, Safavid Iran and Ottoman Turkey. The represented in Australian art institutions. Q: Any final observations on the future resulting exhibition surprised a lot of people I Can you see an opportunity for developing possibilities for promoting Islamic art in think, including many of my colleagues. this aspect at AGWA? Do you see any scope Australia? for building on WA’s proximity to SE Asia, My favourite publication is “Glass from with its large Muslim populations? A: I see myself as an ambassador in this Islamic Lands: the Al-Sabah collection” (2002). field. Australia is virgin territory so there is Reviewing this deep and varied Kuwaiti A: I can’t see us starting to build an Islamic art a lot of work ahead. I was happy to find out collection gave me the opportunity to rewrite collection here, unless we get items donated about TAASA’s existence and look forward to the history of Islamic glass – last reviewed in the as gifts. But I would like to build on my future collaboration. 1920’s! Another publication I am proud of is the strengths, for example through bringing in “Legacy of Genghis Khan, Art and Culture in exhibitions or through educational programs, Western Asia 1258 – 1356”. I have always been perhaps as adjunct professor at one of the particularly interested in exploring the way in universities. Our geographic proximity to which Islamic art and culture has provided a Islamic countries in SE Asia is very relevant. bridge between east and west – I am fascinated Jakarta is closer to us than Sydney! Since by what happens at the borders. September 11, Islamic art curators, for

TAASA REVIEW VOLUME 18 NO.1 13 EXHIBITION REVIEW: IMAGINING HAMPI

Susan Scollay

Virupaksha Gopuram from Hemakuta Hill, Hampi, India. Photo: John Gollings

he village of Hampi in southern India T sits within the ruins of the ancient Hindu kingdom of Vijayanagara, and has been brought to life in a ground-breaking exhibition currently showing at Melbourne’s Immigration Museum. Drawing on the disciplines of archaeology, photography, computer animation and interactive media, the installation is divided into four distinct sections, drawing visitors through a vivid portrayal of the World Heritage site - a portrayal that is at once monumental and intimate.

John Gollings’ striking photographic images of sculpted temples and palaces in their craggy, boulder-strewn setting dominate one of the main galleries. As a counterpoint, glass topped cases are positioned in the centre Fritz acknowledged the assistance given immediacy to the archival material. It also of the room. They contain what seems like by the University of Melbourne’s School of demonstrates the multi-faceted expertise and hundreds of archival photographs of the Architecture and Planning in providing office inspiration the two scholars have brought work of an international team of researchers space and other assistance as the project to the project during their long association who have worked since 1980 surveying and got under way in the early 1980’s. Many with India. John Fritz describes their working preserving an area of 20 square kilometres Australians are among the more than 280 method as “surface archaeology,” a process of what remains of the sacred centre of student-architect volunteers who have that leaves lower levels of the site undisturbed. the kingdom. Large magnifying glasses, worked alongside locally engaged staff The Indian Archaeological Survey and the thoughtfully provided in this section, enable since the project’s inception. George Michell Karnataka Department of Archaeology who visitors to appreciate in close detail candid paid tribute to the contribution they made administer the site provided the international moments in the fieldwork of the team led in assisting in the painstaking process of teams with accommodation and support. by archaeologists Dr George Michell and measuring and drawing site plans of more Increasing economic development and Professor George Fritz. than a thousand structures, including temples, population following the building of a dam palaces and bazaars of the once fabled city. on the river in the mid- 20th century has put Speaking at a series of lectures organised pressure on the site, increasing the need for by Monash University’s Asia Centre to A filmed conversation with George Michell preservation of the archaeological record and mark the opening of the exhibition, John and John Fritz at the exhibition adds of the monuments. George Michell and John

Krishna Temple Tank, Hampi, India. Photo: John Gollings

14 TAASA REVIEW VOLUME 18 NO.1 Hanaman relief on river’s edge, Hampi, India.

Photo: John Gollings Fritz say their work now is to analyse and degrees. Sound recordings were made at interpret the data gathered over the years at the same time so that, once digitised, the the site that stood for so many years on the images and the accompanying sounds give frontier where India’s Hindu and Muslim the viewer the sensation of being in Hampi cultures conjoined. amongst the ruins of the ancient settlement and alongside the farmers and their animals A place of pilgrimage in India since the who live in the village today. Gods and local 9th century, the holy site of Hampi, on deities believed to inhabit the temples and the the banks of the Tungabhadra River, has landscape have been added to the panoramic a sacred mountain at its centre. Pilgrims images by means of computer animation. believe Hampi to be the site of Kishtinda, the Monkey Kingdom from the Hindu epic, the According to the exhibition organisers the use Ramayana. Caves and bathing spots along the of such complex and innovative technology is course of the river are closely associated with a world first in museum presentation, enabling the mythical gods who feature in episodes the many visitors who have already seen the from the great story. Other visitors are drawn exhibition in a number of cities internationally, to the village of Hampi because it is situated to have a sensory experience of visiting the site in the best-preserved remains of a Hindu The Vijayanagara’s army was defeated in a without visiting India. In Melbourne, museum kingdom in modern India. critical battle with their Mughal neighbours staff report that a high percentage of visitors and they subsequently abandoned their to the exhibition are members of the expatriate Founded in the mid 14th century in the capital, moving to southern Andhra Pradesh. Indian community who may have never visited aftermath of incursions into the south by the Their glorious city was ransacked and most the site in their homeland. Family groups have Muslim sultans of Delhi, the city became the seat of its wooden buildings destroyed by fire. Yet been lining up for photographs in front of the of a powerful Hindu dynasty. For 200 years the the memory of its beauty and mythological panoramic scenes of the spectacular temples Vijayanagara rulers expanded their territories landscape has continued to attract pilgrims complete with images of Hampi’s ever-present and presided over diverse population groups and scholars to the small farming community gods and goddesses. in southern India - including present day that remains. Karnataka, Andhra Pradesh, Kerala, and Tamil Ancient Hampi: the Hindu Kingdom Brought to Nadu. The status of the city was such that, In the Melbourne exhibition, one of the Life, Immigration Museum, Melbourne, 13 at its height in the mid-16th century, visitors installations titled “Place-Hampi” makes November, 2008 - 26 January, 2010. from all over the world visited the kingdom, startling use of modern technology. Visitors often at the time of the Mahanavani Festival. are offered 3D glasses as they enter the www.museumvictoria.com.au/Ancient- Persian and European eye-witness accounts of circular display, and are encouraged to use Hampi the nine-day festival provide detailed accounts a device on a central motorised platform to of the beauty of the architecture and the wealth simulate movement around the 14th century Vijayanagara Research Project: www. the kingdom generated from trade in spices, site - as if by teleporter. This part of the vijayanagara.org sandalwood and diamonds. Its international exhibition was developed in Melbourne by reputation was such that the kingdom of a team led by Sarah Kenderdine. A pair of Susan Scollay is a Ph. D. candidate at La Trobe Vijayanagara was clearly shown on European specially built cameras, one for the left eye University, Melbourne and a contributing editor of maps drawn just before the city’s destruction and one for the right, shot panoramic images HALI, the international journal of carpet, textile and in 1565. simultaneously while rotating through 360 Islamic art.

TAASA REVIEW VOLUME 18 NO.1 15 PRESERVING BUDDHA AND THE SIXTEEN PROTECTORS

Andrea Wise and Melanie Eastburn The Buddha and the sixteen protectors (left: before treatment, right: after treatment), Japan, 14th century, Kamakura period (1185-1392). Ink, natural pigments and gold on silk, hanging scroll, 115.9 x 60.5 (restored image only),

National Gallery of Australia, purchased 1989

Kamakura–period (1185–1333) scroll A painting, Buddha and the sixteen protectors, in the collection of the National Gallery of Australia has recently returned from extensive conservation treatment and remounting in Japan. Registered as a culturally significant Japanese work of art in an overseas collection, the 14th century painting was chosen by representatives from the National Research Institute in Tokyo for conservation treatment in Japan in 2005.

Each year a team of experts from the Institute visits overseas museums to select a small number of objects for treatment. The initiative is part of a Japanese government-funded program to care for exceptional Japanese works of art in overseas collections. Following extensive discussions between the Gallery and the Institute’s Division for International Co-operation for Conservation, the scroll was despatched to Japan in 2007. The treatment took place at Bokunindo Studio in Shizuoka.

Conserved and remounted, the scroll returned to Canberra in August 2008 and is included in The Golden Journey: Japanese art from Australian collections at the Art Gallery of South Australia, 6 March–31 May 2009. Organised by James Bennett, Curator of Asian Art at AGSA, the exhibition brings together treasures from private as well as public collections Australia wide.

Buddha and the sixteen protectors shows the earthly Shaka Buddha [Shakyamuni] surrounded by a range of figures including the sixteen protectors of the Perfection of wisdom Xuan Zang [Genjo in Japanese] holding a With the exception of the painting’s three [Prajnaparamita] sutra. Paintings of this type bag containing the six hundred Buddhist central figures, Buddha, Monju and Fugen, were used as aids to meditation accompanying scriptures he collected during an epic journey which were distinctly lighter in tone, ceremonial readings of the sutra in Japanese to India. Among the texts he brought back Buddha and the sixteen protectors was very temples. The Shaka Buddha, who had been were three versions of the 600-chapter dark. Moreover, the lower half of the work overshadowed earlier in the Kamakura era by Perfection of wisdom sutra which he translated, lacked contrast and much of its detail had the popular Amida [Amitabha], the Buddha unabridged, on his return. On the other side been lost. It is common for a scroll of this of the Western Paradise, enjoyed renewed of the censer is Jinja Taisho. Identified by age to have been restored and remounted appeal during the later period when this the image of a child’s face on his belly, the a number of times, at least once every 100 work was painted. guardian deity protected Xuan Zang on his years. In the process, many areas of damage travels. Xuan Zang’s autobiography, Journey to Buddha and the sixteen protectors had been The Shaka Buddha is shown seated on a to the West in the Great Tang Dynasty, as well as repaired, infilled and retouched over the lotus throne with his hands in a gesture of the many biographies and fictional accounts centuries, resulting in an unfortunate lack of preaching. On either side of the Buddha are of his life have contributed to his fame. clarity. Although created for short periods two bodhisattvas [bosatsu in Japanese] – the Particularly well known are the 16th century of display on particular religious occasions, compassionate Monju [Manjushri] riding a adventure story Journey to the West by Wu the Gallery’s scroll clearly had a long and lion and wise Fugen [Samantabhadra] seated Cheng’en (translated into English by Arthur active life of rolling, unrolling and display on an elephant. In the foreground, to one Waley) and Monkey, the Japanese television leading to extensive creasing and cracking in side of the large central incense vessel, is series adapted from the tale in which the the support layers, with paint loss apparent the legendary seventh-century Chinese monk protagonist is known as Tripitaka. throughout.

16 TAASA REVIEW VOLUME 18 NO.1 Applying a temporary facing to protect the paint layer. Applying the new silk mount. Photo: Courtesy

Photo: Courtesy Bokunindo Studio, Shizuoka and the Bokunindo Studio, Shizuoka and the National

National Research Institute, Tokyo Research Institute, Tokyo

and the sixteen protectors is classified as a shin painting – a high-quality work featuring a Buddhist subject – so the proportions and arrangement of the new mount were chosen accordingly. The silks are prepared in a similar way to the painting, being lined and stretched before use. This ensures that, in the final product, materials of varying dimensions are of equal thickness and thus the expansion and contraction is controlled.

The skills associated with mounting works At the Bokunindo Studio the scroll was the case of Buddha and the sixteen protectors the of art on paper and silk, hyogu, have been thoroughly examined and documented in paper layer immediately behind the image practised in Japan for centuries. Hyogushi, preparation for treatment. The old mounting was intensely brown in tone, accounting for the specialist restorers and conservators who silks, which were not of the best quality, were much of the corresponding darkness in the repair and mount hanging scrolls, hand scrolls removed and work to consolidate flaking image. and screens, undergo a 7-10 year training and cracked paint began. Paintings from the period. Training also involves appreciation of Kamakura period tend to have an established, Inspection of the previous restorations aesthetic requirements of works mounted as limited palette of pigments most of which explained the strangely bright appearance scrolls, including familiarity with a diversity are mineral based. Reds commonly include of the Buddha and the two bodhisattvas. The of mounting styles and the expertise and iron oxide, red lead and vermilion (mercuric lining papers, including the very dark first sensitivity to choose appropriate silks. The sulphide) while yellows and browns are again lining paper, had been cut away behind the hyogushi ensures that the work of art is mostly iron oxide-derived with some use figures, and replaced with lighter papers. functional as well as beautiful. Scrolls must made of orpiment, an arsenic pigment. The Once the dark brown lining paper was be able to withstand rolling, unrolling and main green pigment is malachite, a copper removed, the primary silk support on which regular handling. More recently, through carbonate. A more hydrated version of this the image is painted was revealed. Like many co-operation with the National Research copper mineral provides the blue, azurite. early scrolls, the silk has a plain, very open Institute in Tokyo, traditional Japanese Indigo is one of the few routinely used organic weave which allows the paint to become studio skills have been supplemented with pigments. Carbon black is used for blacks. incorporated into the support, offering some contemporary approaches to conservation. Lead white is used extensively, but white protection against mechanical stress. clays and a beautiful calcium carbonate white, Once mounted, rollers, decorative ends, gofun, made from pulverised oyster shells With all the lining papers gone, the brittleness hanging and tying cords were attached to the also feature. Metallic pigments from gold and and damage to the silk support became clear. scroll and a storage box was built specifically silver are used in sheet form, cut strips, flakes Numerous silk repairs were found, again to house the newly mounted scroll. The or are ground to form a powder. indicating a long history of restoration. The conservation and remounting of the scroll distortion inflicted on a silk support can be have been a great success – the disparity These traditional pigments are bound with dramatic if the repair is not exactly right, in tone between the central figures and the animal glue, nikawa, often creating a paint that and many of the infills on the Gallery’s remainder of the scroll has been reduced is friable with a tendency to crack and flake. scroll were mismatched in texture, weight and more detail is apparent. The beautiful The paint is applied in layers, first filling and alignment with the original. It was a new mounting silks enhance and balance the up the interstices in the silk. Back painting, delicate, slow process to take away as many image, creating an harmonious effect which where paint is applied to the back of a silk of the silk repairs as possible, and there were should last at least another century. painting either additionally or alternatively to areas where the old repairs were simply too paint applied on the front, is often found on difficult to remove, due to the condition of The National Gallery of Australia would like religious paintings. This technique results in the silk and fragility of the back-painting. The to acknowledge the generosity of the National a richer, more opaque final image colour and weave and weight of the new repair silk were Research Institute and the Bokunindo Studio provides better physical support to the thick matched as closely as possible to the original in giving new life to this splendid and paint layer during rolling. The support is and each silk repair was precisely fitted and important work of art. usually prepared with dosa (animal glue and held with wheat starch paste. A new first alum) before painting, meaning that the scroll lining of mino dyed paper was followed by Andrea Wise is Senior Paper Conservator at the can be made quite wet during treatment, with two further linings made from soft, delicate NGA. She has a BA (Hons) in Design from the little chance of affecting the pigments. misu paper, adhered to the painting in several University of Metropolitan Manchester, UK and an layers. A final lining of thick uda paper MA in Conservation of Fine Art from the University To protect the paint during the long restoration ensures strength as well as flexibility. At of Northumbria, UK. Melanie Eastburn is curator of process, a temporary facing was applied using various points in the process the scroll was Asian art at the National Gallery of Australia. rayon paper and funori, a weak adhesive stretched flat to relax all the components and derived from seaweed. Once consolidated to prepare it for the next stage. and faced, it was safe to turn the painting over. Scrolls often have several layers of paper The last step was remounting. The Kamakura linings and a multitude of paper repairs on the period saw the emergence of classifications of back. To conserve a scroll fully it is necessary mounting styles appropriate to the purpose to remove all previous linings and repairs. In and significance of the works of art. Buddha

TAASA REVIEW VOLUME 18 NO.1 17 CONFUCIAN CONCEITS: KOREAN PAINTING IN THE JOSEON DYNASTY

Jackie Menzies

n selecting high points of the artistic folk, literati and religious painting. Members category of munjado (paintings of characters) I heritage of the peninsula nation of Korea, of the Korean court and gentry (yangban) and to the related category of chaekkori (books one would choose the sublime celadons and also patronised this broad new repertoire of and things). Munjado vary in style and exquisite Buddhist paintings of the Koryo painting which embraced Confucian, Buddhist, composition, but most usually comprise an period (918-1392), the boldly coloured folk Daoist and shamanistic themes, along with eight panel screen decorated with the eight paintings and robust ceramics of the Joseon the ubiquitous bird-and-flower, genre and Chinese characters for the eight Confucian period (1392-1910), and the increasingly landscape themes of folk art. virtues, one character on each panel, the sophisticated contemporary art. However the characters written with varying degrees of breadth of painting in the Joseon dynasty Artists of all training, from traditionally cursiveness and surrounded by differing is still not fully appreciated, and so the Art trained painters of the Imperial Academy to degrees of subsidiary decoration, motifs Gallery of New South Wales is mounting an self-taught itinerant and rural artisans, using and symbols. Munjado reflect the enduring exhibition of Joseon painting, selected from paper, silk and pigments of various grades of popularity of Chinese calligraphy amongst the large collection donated to the Musée quality, were kept busy fulfilling orders from the gentry (yangban) class, while from the Guimet in Paris by the Kamakura-based all sectors of Korean society. During the latter 18th century the prosperous middle class contemporary artist Lee Ufan. The exhibition, part of the long Joseon dynasty (1392-1910), also commissioned munjado screens. Chaekkori entitled Korean dreams, comprises decorative decorative paintings were commissioned by comprise paintings, often in the screen format, paintings that draw on the multi-streamed all classes for use as household furnishing depicting piles of books (bound in cloths of Korean heritage of folk art, shamanism, and as embellishment for special occasions varying patterns and colours) and scholarly Daoism, Buddhism and Confucianism. such as weddings. Hence the term ‘decorative paraphernalia such as Chinese porcelain painting’ is preferable to ‘folk painting’ in vases and ancient bronzes, bowls of fruit, The advent of the Joseon period in Korea in describing popular painting, the descriptor scrolls, and tea or wine vessels. the late 14th century witnessed the replacing most-often used for non-Imperial Korean of Buddhism by Confucianism, more painting of the Joseon period. Generally speaking, the more conservative specifically a distinctly Korean interpretation and literal rendering of a character indicates of Neo-Confucianism, as the official ideology. Paintings were made in screen format, since an earlier date; by the nineteenth century, Consequently Confucian values shaped screens were displayed in most rooms of characters were bold flourishes, identifiable state policy and society. An examination a Korean house. They were also made in only through knowledge of the conventional system based on the Confucian classics was formats suitable for placing on either side order of the characters and their associated established, although the ruling gentry class of doorways, and on walls, however most symbol. I have attempted to list in the (yangban) still tended to be based more on of these architecturally dependent paintings conventional order the English meaning of an hereditary system than the meritocracy have not survived. Korean screens are usually the eight Confucian virtues, as exemplified in ideal advocated by Confucius. The growth of single rather than in pairs, with eight panels the two eight panel screens in the forthcoming a wealthier middle class in the 18th century, being the most common. On a Korean screen, Korean dreams exhibition. Allowing for the in both urban and rural centres, saw the each panel often has its own self-contained nuances of English meanings, and the varying spread of Confucianism beyond the court and painting which occupies the upper half of ways of transliteration, rough appropriations yangban circles. the panel. The continuous expanse of painted of the eight characters are (from right to left): surface so typical of a Japanese screen is not This class, which embraced merchants, farmers, typical of a Korean one. Filial piety (Chinese xiao; Korean hyo) and the so-called ‘middle class’ (jungin) of minor Obedience/brotherly love (Ch: ti; K: je) officials, was keen to define itself in terms of a Dominant painting subjects relate to the Loyalty (Ch: zhong; K: chung) distinct Korean identity, and enthusiastically teachings of the Neo-Confucianism advocated Reliability/faithfulness (Ch: xin; K: sin) patronised new, more decorative styles of by the Joseon rulers. Particularly popular Politeness (Ch: li; K: ye) painting that evolved from existing styles of were painted screens belonging to the Duty/righteousness (Ch: yi; K: ui)

Munjado, Joseon dynasty, 1700s-1800s. Eight-panel folding screen, colour on paper, 75 x 34 cm (each image). Musée Guimet, Paris. Photo: ©Musée Guimet /Thierry Olivier

18 TAASA REVIEW VOLUME 18 NO.1 Munjado, Joseon dynasty, 1700s-1800s. Eight-panel folding screen, colour on paper, 97.5 x 48 cm (each image). Musée Guimet, Paris. Photo: ©Musée Guimet /Thierry Olivier

Incorruptibility/integrity (Ch: lian; K: yeom) left panel, on which are to be seen a shrine Shame/humility (Ch: chi; K: chi) motif, plum blossom and the moon, alludes to the selflessness of two princes in Shang One of the munjado screens in the exhibition (see dynasty China who retreated to the life of above) depicts each character with regulated hermits so their brother could ascend the lines that seem to culminate in bird heads, throne (Asian Art Museum of San Francisco with the inside of each character textured like 1998: 19). feathers. Each panel is tripartite: the upper section depicting flowers, the bottom section Different screens were intended for different birds and fish. Apart from birds, trees and parts of a home: for example chaekkori would flowering plants, there are two small spirit appear in a man’s study, while munjado might houses, most likely ancestral shrines, in the be used in children’s rooms to teach them upper sections of the two central panels. That the Confucian virtues. In the exhibition are these are depictions of household shrines is excellent examples of chaekkori. One finely borne out by the altar in the lower section drawn and coloured screen seems to have of the left of these panels. Ancestor worship been executed by an artist of considerable was an important component of Confucian training, though with a discreet, to date dominated Joseon society. unread, seal. Another example is realised only in disciplined ink outline, devoid of all The other screen, probably later, has colour and quite architectural in its balance vigorously drawn, solidly black characters, and detail. Chaekkori invariably contain the with birds and fish incorporated into the so-called ‘Four Treasures’ of the traditional character design to form a single integrated Confucian scholar, namely paper (in the form composition. The recurring motifs of birds and of rolls), ink, brush and inkstone; as well fish have their own auspicious resonances: as all the beloved paraphernalia of vases birds, for example, are signifiers of joy; fish of allusion-laden flowers, ancient bronzes, are symbols of plenty, and a crab symbolises censers, and porcelains. They are composed discretion since it knows when to back off. For either of scattered groups of books and a Korean, the fish and bamboo decorating the objects, or more disciplined arrangements of CHAEKKORI, JOSEON DYNASTY, 1800s, DETAIL OF SIX-PANEL right hand panel (‘filial piety’) are references objects on shelves. FOLDING SCREEN, COLOUR ON SILK, 119 X 32 CM (EACH IMAGE). to two ancient Chinese stories of filial piety: Musée Guimet, Paris. Photo: ©Musée Guimet /Thierry Olivier in one exemplar Wang Xiang smashed the Both munjado and chaekkori constitute freezing ice of a lake to capture a fish for his uniquely Korean additions to the repertoire of ailing stepmother; in another the admirable Confucian-related imagery, while enhancing Meng Zong, distraught at not being able to our appreciation of the breadth of Korean find food for his mother in winter, cried in decorative painting. despair in a bamboo forest. His warm tears melted the snow to reveal bamboo shoots he Jackie Menzies is head curator of Asian art at the was able to take to his starving mother. Art Gallery of New South Wales. The exhibition Korean dreams will be showing at the Art Gallery of The character on the third panel from the NSW from 5 March to 8 June 2009. right, which stands for loyalty, is decorated above with bamboo, a long-established REFERENCES scholarly symbol for steadfastness, and Asian Art Museum of San Francisco.1998. Hopes and Aspirations, below it a shrimp, in Korean language a Decorative paintings of Korea. rebus for harmony. The phoenix, on the Moes, Robert.1983. Auspicious Spirits, Korean folk paintings and second panel from the left, is an ideal symbol related objects, International Exhibitions Foundation and Korean Overseas Information Service. of incorruptibility since it is believed the phoenix will not eat, even when hungry, if it might mean being comprised. The extreme

TAASA REVIEW VOLUME 18 NO.1 19 CHINESE BUDDHIST ART SYMPOSIUM: FINDING MEANING IN THE LOST BUDDHAS

John Millbank

Speakers at the Chinese Buddhist Art Symposium 2008. Photo: Courtesy Art Gallery of NSW n 29-30 August 2008, the University O of Sydney and the Art Gallery of New South Wales jointly held a symposium on the subject Chinese Buddhist Art, New Directions and Perspectives, in conjunction with the Art Gallery’s exhibition The Lost Buddhas: Chinese Buddhist sculpture from Qingzhou. The symposium brought together speakers from Australia and overseas, including many of the leading scholars in the field from the UK, the US, Germany and Switzerland.

Over two days a dozen papers were delivered reflecting recent scholarship on Buddhist art in China around the sixth century. Despite the diversity of topics, a number of common themes emerged: the importance of regional traditions and local donors in shaping choosing the path of simple faith. His ultimate fifth century paintings found in Cave 254 at belief and iconography; insights into the belief was in a Buddhist paradise on earth, Dunhuang, as a focus for repentance rituals. forms of early Buddhist worship and ritual heralded by the future coming of Maitreya. He was able to identify an image of the one practices offered by contemporary images; thousand Buddhas of the past and future the apocalyptic nature of religious beliefs The cult of Maitreya was taken up by two later surrounding Sakyamuni as representing a in a time of conflict and their reflection speakers. The Maitreya cult was apocalyptic, specific episode in Buddha’s life in which in religious images; and the significance of associated with the Latter Days of the Law, the Buddha sought refuge from a dragon by the highly decorated style of the Qingzhou end of the present Buddhist era when Maitreya attaching himself to a wall of the Shadow Cave sculptures in particular. would succeed the Buddha Sakyamuni. Dr of the Western Regions. The symbolic act of Patricia Karetsky of the City College of New remaking the image, presumably accompanied The first two speakers provided an introduction York and Dr Liu Yang, Curator of Chinese Art by appropriate rituals, was a way of entreating to the reception of Buddhism into China and at the Art Gallery of NSW both explained the Buddha to remain in the world. its interaction with pre-existing religious and cult in part as a response to the devastating philosophical traditions. Professor Jeffrey wars which racked the whole of northern Associate Professor Dorothy C. Wong of Riegel of Sydney University introduced the China from the late fifth century. Dr Karetsky Virginia University analysed two sixth century ancient state of Qi, geographically coincident described the monumental Northern Wei steles venerating names of the Buddha for with the present province of Shandong, as (386-535 CE) statues found in Qingyang clues to understanding Buddhist beliefs and a centre of philosophical speculation and and Jinchuan county caves in Gansu, which practices of the time. Professor Wong argued religious activity. Famous as the home include iconographically unique images that the steles demonstrated how the practice of Confucius and the scholars of the Jixia of Maitreya, perhaps the work of artisans of venerating names was part of communal Academy at Linzi, it also nurtured shamans, displaced from the Yungang caves after 499. repentance ceremonies of the time, which Daoists and magical fox spirits. Despite Dr Liu Yang reviewed depictions in Shandong eventually evolved to give rise to the ritual resistance from the Confucian gentry, who of Maitreya after his rebirth into the earthly chanting of Buddha names. maintained that “things from abroad should paradise at Ketumati, where, as Sakyamuni’s not be studied in China”, the fifth and sixth successor, he would teach the Law and make Professor Roderick Whitfield of the School centuries in Shandong proved a golden countless converts. Edmund Capon drew of Oriental and African Studies, London, age of receptivity to Buddhist doctrines attention to an Eastern Wei (534-550 CE) stele noted that early mass production techniques and expression, as evidenced by the 30,000 in the Gallery’s own collection, previously were applied to multiply sacred images. He temples said to be found there. described as representing Sakyamuni and cited a third century stupa on the desert route now identified as a Maitreya on the basis of into China, of which the inner and outer Professor Albert Dien set out to explore the dated comparable examples. walls are covered with moulded clay statues. nature of early Buddhist beliefs through the The originals of similar moulds have been example of Yan Zhitui (531-591), a scholar Several speakers considered what inferences found in Korea. The Stein collection in the and court official. His Family Counsels of Mr could be drawn between early Buddhist British Museum contains stamped images, Yan includes one chapter “Turning the Mind iconography and ritual practices then used early forms of printing, accompanied by to Buddha”, expounding and defending for worship. In times of strife and destruction, instructions for the production of the printed Yan’s very personal view of the main tenets it is probably no coincidence that several images on defined days following appropriate of Buddhism. Neither an orthodox Buddhist examples were connected with repentance ceremonies, demonstrating a connection nor an orthodox Confucian, Yan rejected the rituals. Professor Eugene Wang of Harvard between the mass production of images and elaborate scholasticism of Confucian cosmology, University traced narrative schemes from late performance of prescribed rituals.

20 TAASA REVIEW VOLUME 18 NO.1 Professor Helmut Brinker, recently of the earliest known treatment of a subsequently various directions: from South-East Asia via University of Zurich, considered ceremonies highly popular theme drawn from the Lotus Nanjing and/or Chengdu, or from Sichuan associated with the animation of images to sutra: Guanyin rescuing followers from via the north-west under the Zhou and Qi transform them into manifestations of divinity. various perils - fire, shipwreck, sea monsters, (550-577 CE) kingdoms which at various He suggested the importance in this process execution. stages incorporated Shandong. of the Buddhist concept of the “worldly shadow”, whereby images are seen not as It would be remiss to ignore the controversial While not uncontested, Professor Howard’s secondary representations of the divine but as issue of the routes of transmission of Buddhist insistence on a Southern as well as Northern visible manifestations of the invisible. Perhaps beliefs, texts and images to China. Angela influence is by now widely accepted. Dr the best known is the ceremonial painting of Howard, Professor of Asian Art at Rutgers, Lukas Nickel of SOAS injected controversy pupils on the blank eyes of images. took up a theme introduced by Professors in the final talk of the symposium when he Brinker and Whitfield, identifying elements contrasted the sudden and sustained increase Although details of Chinese practices are of a distinctive Southern style of Buddhist in popular religious activity evident across scarce, such a ceremony was performed in sculpture in the Qingzhou images. The best the North and in Sichuan around the year Chang’an by the emperor Taizong (r.626- examples of the Southern style were mainly 500, with the absence of comparable Buddhist 649) for his mother. More is known from recovered in excavations in Chengdu in images in the South. Although literary Japan, including a dedication ceremony Sichuan, and are characterised by strong sources do record worship at the Liang court performed by the emperor at the Todaiji in Indian influences, including soft and sensuous (502-557 CE) at Nanjing, Dr Nickel argued 752. Paraphernalia from this ceremony have figure modelling, the appearance of the that the archeological evidence (or a lack been preserved, including the brush used by purnaghata, or Indian urn of plenty, supporting thereof) does not support an equal intensity the emperor. Another means of animating lotus buds, and Mathura and Ashoka-style of popular religious faith in the South. Other images involved hiding objects in cavities standing Buddhas stylistically preferencing speakers were less ready to dismiss popular inside images before their consecration. The Indian over Chinese traditions. Other images piety in the South, suggesting that Southern hidden objects could even include imitation from Sichuan depicting foreigners with coral images may simply have been made of more viscera, suggesting a more literal approach to necklaces and incorporating Hindu alongside perishable materials, such as clay and wood. the process of bringing life to images. Buddhist iconography suggest South-East Asian influence possibly traceable to Funan, on Nevertheless, the splendour of the Qingzhou Professor Lothar Ledderose of the University the border of modern Cambodia and southern images and their decoration is undeniable, of Heidelberg, reported recent research into Vietnam, then a hub of India-China sea routes. as recognised by their contemporaries. Dr rock inscriptions on Gangshan in Shandong. Nickel recalled an inscription dated 573 from The inscriptions, carved on rocks scattered Turning to the Qingzhou sculptures, Professor a temple near Qingzhou, praising the size over the mountain, reproduce a passage of a Howard was able to identify elements of and beauty of the temple and its images sutra describing the landscape where Buddha both Northern and Southern styles: from the and recording the many visitors attracted to preached. They are dated by inscription to North, the arrangement of a Buddha flanked venerate the Buddha. And still they come. 580. The Heidelberg team has managed to by two bodhisattvas, and the richly decorated reconstruct the order of the engraved texts, costumes of the bodhisattvas; from the South, John Millbank has a PhD in history. He is currently which had been disturbed by earthquakes the use of the flaming aureole as a framing writing a book on the sacred mountains of China. and landslips over the centuries. From device, with the addition of Ashoka-style their reconstruction, the text was intended stupas. Intertwined lotus pedestals support- to reproduce the experience of Buddha’s ing the main figures are a Southern device, preaching as visitors entered the canyon to but the substitu- ascend the mountain. tion of dragons for lotus flowers Another recurring theme was the importance in this motif is of local donors in the propagation of worship: purely Northern while the main cave sculptures at Yungang Chinese. And and Longmen were the direct result of royal several thin- patronage, the proliferation of other images in l y - d r a p e d caves and in temples in and near cities came Mathura-style from donations by local people. Dr Karetsky s t a n d i n g described an early narrative depiction of Buddhas are the miracles accompanying Buddha’s birth strikingly simi- in Cave 259 at Dunhuang, dating to the lar to slightly Northern Zhou (557-581 CE). The depiction earlier exam- offers an innovative, if somewhat naïve, ples found narrative rendering closely based on in Chengdu. the sacred texts, with treatments not seen P r o f e s s o r elsewhere. In Dr Karetsky’s view, the scheme Howard sug- suggests a group of local donors and artists gested that improvising treatments in the absence of Southern influ- narrative conventions yet to be developed. ences may Another local innovation, found in Dunhuang have reached cave 420 dating to the Sui (581-618 CE), is the Shandong from

Stele with a Buddha and Two Bodhisattvas, Eastern Wei (534-550 CE). Limestone, 134 x 130

x 20 cm. Photo: Courtesy Shandong Provincial Museum. Sourced from The Lost Buddhas:

Chinese Buddhist Sculpture from the Qingzhou, Art Gallery of NSW 2008 TAASA REVIEW VOLUME 18 NO.1 21 COLLECTOR’S CHOICE: MURAL ART OF KERALA

Vimala Sarma GAJENDRA MOKSHAM MURAL PAINTING IN SITU, SURESH MUTHUKULAM, COMMISSIONED 2006. APPROX 225 X 75 CM.

PHOTO: VIMALA SARMA

ne of my prized possessions is a mural with the chosen theme, one I knew well having O painting executed in the traditional Kerala learned a dance telling this story of an exploit style by the talented Suresh Muthukulam, one of Vishnu from the Bhagavata Purana (tales of the very few remaining artists skilled in this of Vishnu). King Indradyumna, a devotee rapidly dying form of art. The painting hangs of Vishnu, was deep in meditation when he in a long and narrow segment of wall above was paid a visit by the great sage Agastya, a flight of steps leading to my home office. and did not notice his presence. Insulted by That bit of bare white wall, confronting me what he perceived was a lack of respect, the every time I left the office, always looked as sage cursed the king and turned him into if it needed something special on it. But the an elephant-king which was subsequently awkward dimensions of that space, long and attacked by a crocodile. In desperation, the narrow with an arc at the lower end, meant elephant sought the refuge of Vishnu, who that something had to be commissioned. mounted the winged Garuda and flew to the aid of his devotee from his heavenly abode. On one of my frequent trips to Kerala I had With his discus he slew the crocodile, and the visited the studio of Suresh Muthukulam king, liberated from the curse, offered Vishnu in the small village of Aranmula and was a lotus. The elephant–king theme, “Gajendra captivated by the genre. I had previously Moksham”, with minor variations, has been a visited the Muttancheri Palace in Kochin, favourite with Indian artists over time, and home of the former rulers of Kerala, the examples are to be seen at Krishnapuram Varmas, where beautiful murals are still to be temple. Sculptures of this theme are found seen, although in a deteriorating condition. in temples in Pattadakkal (Karnataka) and in Themes were taken from Hindu mythology Deogarh (Uttar Pradesh). and one of the more memorable scenes was a painting of Krishna sporting with a number of My mural shows Vishnu painted in indigo milkmaids – indeed, both hands, fingers, and resplendent on a human-like Garuda with toes are employed in fore-play with several magnificent wings, in the top third of the ladies simultaneously. The highly stylised painting. Gandharvas dance and play musical figures are first finely outlined in black instruments around him. Vishnu in his iconic and then filled in with traditional coloured form with his hands holding his identifying powders (such as turmeric, lime and charcoal) emblems - a conch, a discus, and a mace usually in orange, green and dark indigo. The - is seen at the centre, flanked by the four- spaces between the figures are decorated headed Brahma on the left, and Shiva in with diamond shapes or dots, and the figures white on the right, with sages and Apsaras themselves surrounded by chains of rounded (heavenly maidens) at the sides of the canvas. beads and highly ornamented. Underneath is the elephant-king offering lotuses to Vishnu. The crocodile is on the Suresh’s studio not only had paintings bottom right corner in a pond depicted by depicting traditional Hindu mythological blue scroll waves, with a row of kinnara (bird- stories, but also more realistic paintings of However most of the surviving murals in the like beings) above the water. personalities such as Gandhi and paintings of palaces and temples of Kerala date from the biblical stories. A painting of the Last Supper, 15th century onwards. Important examples Dr Sarma is a management consultant and Sanskrit purchased by the Kerala State Government can be seen in the Ettumanoor Shiva temple student, organises cultural retreats to South India, and donated to Pope Paul John II, now hangs which also has a museum of wood and stone and is also a classical Indian dancer. vsarma@ in the Vatican museum. Christianity had long sculptures; the palaces of Krishnapurama bigpond.com been established in Kerala by the Syrians and Padmanabhapuram (circa 1744), and at before the advent of the Portuguese, and Panayannnarkavu which has murals depicting churches in Kerala are often decorated with the Sapta Matrikas (the Seven Mothers), frescos and murals. painted before the Sakti cult was transformed into the prevailing Vaishnava religion. The style has developed from the very early murals in the rock cave in Thirunandikkara Before my next trip to Kerala in November (near Kanya Kumari) in the southernmost 2006, the space above my stairs was carefully tip of India dating from the 7th century, measured, and I presented these measurements of which only the outlines survive. These to Suresh. After some contemplation he murals are thought to be related to the more decided on “Gajendra Moksham” as being ancient Dravidian art called “Kalamezhuthu”. suitable to its size and shape. I was delighted

22 TAASA REVIEW VOLUME 18 NO.1 BOOK REVIEW: PICTURES ON SILK

Milton Osborne

An admirable feature of the book is the extent to which the author seeks to relate these textiles to the broader cultural life of Cambodia. So it is that we are introduced to the use of pidan cloths within Buddhist wats, in a fashion that combined religious symbolism and decoration, as well as their use, at least anecdotally, as ‘pictures of heaven for the dying.’

Casting her net quite widely, the author does not limit her consideration of textiles to the silks that are her primary concern, but also discusses the nature and use of pictorial cotton cloths. In all this examination the reader is brought

back constantly to the striking and seductive Pictorial Cambodian Textiles by Gillian Green images on the textiles themselves: whether River Books, Bangkok 2008 to the scenes from the Buddhist jatakas, the rrp A$90.00 distinctive symbolism embodied in the ‘end- of-rainy-season themes’ or funerary cloths, After the acclaimed success of her Traditional and perhaps most immediately appealing for Textiles of Cambodia: Cultural Threads their exoticism, the cloths which depict boats, and Material Heritage, published in 2003, cars and shops. These last mentioned items Gillian Green has returned to the subject held in the Phnom Penh Museum appear to of Cambodian textiles with an examination date from the late 1920s. of what she describes as ‘an extraordinary group of antique Cambodian hand woven This is a book that will appeal on a number silk textiles . . . [which] form a category of of levels. At one level the book meets the unique and evocative pictorial textiles, albeit interests of those seeking deeper knowledge with an enigmatic provenance’. of Cambodian textiles, both in terms of their weaving processes and their cultural She has carried out this examination in great significance. At another level the book detail, with her findings once again richly provides useful insights into the manner in illustrated in the high-quality plates that are which Cambodia has reacted to changing such a feature of the book. Reflected in her cultural forces that have resulted from the text is a rejection of the widely held view country’s increasing encounter with the wider that pictorial textiles, most particularly the world. And finally, the book provides an pidan incorporating scenes from the life of extremely satisfying aesthetic experience with the Buddha, functioned as ‘hangings’. We are its wonderful collection of high quality plates. also offered her observations on the history of other forms of pictorial textiles, their Gill Green is to be congratulated on this further disappearance at the beginning of the 20th important contribution to our knowledge and century and re-emergence at the end of the understanding of Cambodian textiles. It is same century. clear that there is more to be discovered, so we may confidently look forward to a further In many ways this a much denser work book that will build on the achievement this that Gill Green’s previous work, a fact that present work represents. reflects the extent to which the author takes the reader through her investigation of these Milton Osborne is a Life Member of TAASA and the previously undocumented textiles. That this author of ten books on Southeast Asian subjects, was a demanding investigation is made clear more recently of The Mekong: Turbulent Past, in her observation in the final substantive Uncertain Future (updated edition 2006). He is an chapter of the book, ‘Pictorial Textiles - Adjunct Professor in the Faculty of Asian Studies at An Impulse of Modernity’, that: ‘Despite the Australian National University, and a Visiting their being the most sought after group of Fellow at the Lowy Institute. antique Cambodian textiles, these pictorial images woven in silk have proved the most enigmatic’. They are artefacts that ‘seem to have sprung from nowhere’.

TAASA REVIEW VOLUME 18 NO.1 23 RECENT TAASA ACTIVITIES

TAASA VICTORIA would like to thank those who donated prizes Textile Study Group end of year party for the raffle. The series of talks for the 2009 The Textile Study Group end of year party End of year party program was announced on the night (see was held at the Powerhouse Museum on The annual end of year celebration for Members’ Diary for details of first talk). 17 December. Attendees provided a 2008 was held in December at Weft Gallery memorable supper and a raffle was held for in Malvern, run by Leigh and Alexandra TAASA NSW two handwoven pieces of cotton ikat kindly Copeland. The gallery’s wonderful collection donated by September speaker, Alfonsa of South Asian textiles and jewellery and End of year party Horeng from Sikka, Flores, Indonesia. (see Alexandra’s beautiful ceramics provided a TAASA NSW’s 2008 end of year party was December 2008 issue of TAASA Review for a suitably festive setting for the party. The held on 27 November at a packed Parkham write up of Alfonsa’s talk) event was well attended by the TAASA Vic Place Gallery and as always Cito and Lyn TAASA Book Launch members and friends, and the committee Cessna were our generous hosts. Members On 26 February, a Sydney launch of Gill contributed all manner of items for the Green’s new book ‘Pictorial Cambodian Bazaar, often brought back from their Asian Textiles’ was held at the new Gurner St, travels. This is always a popular part of the Paddington gallery of long time TAASA evening, as is our raffle, providing interesting member Barbara Rogers. A report of this gifts for Christmas while raising money for event will be provided in the June issue of the TAASA. Special thanks to Dr James Hayes TAASA Review. for generously donating items from his own collection. Our end of year party provides a great way for people with common interests

TAASA Vic members at the end of year party. to meet, especially welcome in a year that

Photo: Carol Cains seems to have raced past with such speed.

24 TAASA REVIEW VOLUME 18 NO.1

TAASA MEMBERS’ DIARY March – MAY 2009

TAASA NSW EVENTS TAASA VICTORIA EVENTS TAASA QUEENSLAND EVENTS TAASA NSW Textile Study Group Special viewing of NGV exhibition: TAASA Ceramics Seminar - 9 May All meetings are on Wednesdays from Dressed to Rule: Imperial Robes - May An afternoon seminar on historic Chinese 6-8 pm at the Powerhouse Museum. The (date to be confirmed) ceramics is being planned at the QAG. While 2009 program will focus on the topic Ruth Clemens will take TAASA members not finalised, the program includes talks on of ‘Adornment’, an inalienable part of through this exhibition in late May. the archaeology and art history of Chinese much of traditional dress. Heleanor Enquiries to Carol Cains on 03 8620 2288. ceramics, a private collector’s experience, Feltham commenced the program with an a guided tour of the QAG’s ceramics introduction to the topic on 11 February. 2009 TAASA Vic speakers program collection, and a talk by a conservator. The 11 March: Margo Beasley will speak on 13 June - Tai textiles seminar will be followed by a social function. Samoan barkcloth. Margo’s contribution has Speaker: Russell Howard Participants will have the opportunity of been held over from last year’s topic Venue: Behruz Studio, 1509 Malvern Road, visiting The China Project exhibition, ‘Three of ‘Material fibres’. Glen Iris Decades: The Contemporary Chinese For further details please contact The talk will complement Russell’s textile Collection’, 27 March to 28 June, at the QAG. Gill Green on 9331 1810 exhibition at Behruz Gallery, which will showcase textiles of the Tai groups in Queensland TAASA members will be sent TAASA Jewellery seminar - 25 July northeast Laos and across the border in full details of the seminar in mid-April. TAASA is organising a full day seminar Vietnam. For more information, call: Other interested members should contact on the topic of jewellery at the Art Gallery 03 9510 2282 or [email protected]. Philip Courtenay on 07 3289 5066 or of NSW to complement the theme of the [email protected] in April. 2009 VisAsia Tuesday lunchtime lecture Further lectures scheduled for: series ‘Decoding Dress’. Full details will be 7 July, 1 September, 3 November. provided in the June issue of TAASA Review.

TAASA REVIEW VOLUME 18 NO.1 25 WHAT’S ON: MARCH – MAY 2009

A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS

Compiled by Tina Burge

AUSTRALIA Arts of Asia - Decoding Dress in Asian by 48 contemporary Chinese artists from Culture and Art the 1980s to the present, drawing primarily AUSTRALIAN CAPITAL TERRITORY Art Gallery of New South Wales, Sydney from the QAG Collection. Paralleling this Tuesdays 1-2pm from 17 March 2009 exhibition is ‘Zhang Xiaogang: Shadows in Asian Art Events the Soul’ an exhibition by one of China’s most National Gallery of Australia, Canberra The Arts of Asia lecture series will highlight eminent painters, as well as the commissioned the visually rich and intellectually stimulating project ‘William Yang: Life Lines’ highlighting Fairytale, a documentary produced for subject of Asian dress. Asian art specialists Australia’s long and complex migrant history Documenta 12, Kassel in 2007 by Ai Weiwei will be presenting this fascinating series of in relation to China. will screen on 15 March at 1.30 pm. 22 lectures. Details can be found at www. www.qag.qld.gov.au artgallery.nsw.gov.au/events/courses where Haruki Yoshida, an independent researcher course bookings can also be made. SOUTH AUSTRALIA in Chinese and Japanese painting will discuss Wagtails by a rocky torrent, a pair of sixfold Yayoi Kusama: Mirrored Years The Golden Journey screens by Mochizuki Gyokusen on 24 March Museum of Contemporary Art, Sydney Art Gallery of South Australia. Adelaide at 12.45pm. 24 February - 8 June 2009 6 March – 7 June 2009

Anne O’Hehir, Assistant Curator, This major exhibition features selected work The Golden Journey is the first comprehensive Photography will discuss photomedia artist from the past forty years by Yayoi Kusama, survey in Australia to explore the rich heritage Pushpamala’s work Re-dressing the past on a prolific and internationally acclaimed of Japanese art from prehistoric times until 14 April at 12.45pm. Japanese artist. It presents film, documentation Japan opened its doors to the West at the of performances, sculpture, installation work commencement of the Meiji period (1868- Padma Menon and other dancers will perform and painting, including a recent body of 50 1912). The exhibition of around 300 works traditional Indian dance to express the link new print works made over the last three showcases the extensive collection of Japanese between dance and ancient mythology and years. Her work is intensely sensual, infused art of AGSA with key loans from other public life on 31 May at 2pm. with autobiographical, psychological, and and private collections around Australia. For further information on these events call sexual content. (02) 6240 6504 or go to www.nga.gov.au. www.mca.com.au A full-day Symposium on Japanese art and culture on Saturday 7 March 2009, will feature NEW SOUTH WALES NORTHERN TERRITORY Australian and international experts focusing on the arts of the Meiji period. Korean Dreams: paintings and screens of Husi Bei Ala Timor Sira Nia Liman – Bookings can be made online at www.artgallery. the Joseon Dynasty from The Lee U-Fan From the Hands of our Ancestors – sa.gov.au/japan or call (08) 8207 7050. Collection from the Musée Guimet, Paris The Art and Craft of Timor-Leste Art Gallery of New South Wales, Sydney Museum and Art Gallery of the Northern Territory, VICTORIA 5 March - 8 June 2009 Darwin 22 November 2008 - 12 July 2009 Dressed to Rule: Imperial Robes of China The exhibition will feature the Musée National Gallery of Victoria – International, Guimet’s internationally renowned collection For the first time since the nation’s Melbourne of Korean screens, hanging scrolls and album independence in 2002, works from the 17 April – 6 September 2009 leaves dating from the 17th to 19th centuries, National Collection of Timor-Leste are in the Joseon era (1392-1910). presented internationally, complemented by The exhibition will showcase the Gallery’s the Timor-Leste collection of the MAGNT own collection of nineteenth century Chinese A Study Day for Korean Dreams is on 7 March and additional works on loan from public and imperial robes, many never displayed before. 2009 from 12pm - 5pm. Speakers include private collections. The design of robes in the Manchu tradition Pierre Cambon, chief curator, Musée Guimet, For further information go to: www.nt.gov. and the symbols of imperial power from the Paris and curator of Korean dreams exhibition, au/nreta/museums Chinese tradition will be explored. and local specialists in Korean art and culture. QUEENSLAND In association with the exhibition Dr Mae Events associated with the exhibition include Anna Pang, exhibition curator and Senior traditional Korean dance performances by the The China Project Curator, Asian Art will give a lecture on 24 Song Min Sun Korean Dance Academy from 20 • three Decades: The Contemporary Chinese April at 12.30pm. - 24 April 2009 at 1.30pm and a film program Collection exploring contemporary South Korean cinema • Zhang Xiaogang: Shadows in the Soul The Children’s program Art Sparks will from 11 March - 7 June 2009 on Wednesdays • William Yang: Life Lines have activities for children on Saturdays 2pm & 7.15pm and Sundays 2pm. Queensland Art Gallery – Gallery of Modern Art from 21 March – 6 June (and during the For more details go to: www.ag.nsw.gov.au 28 March – 28 June 2009 school holidays) from 12pm – 3pm (except 11 April). ‘The China Project’ presents three unique www.ngv.vic.gov.au/ngvinternational points of view on contemporary Chinese art. ‘Three Decades: The Contemporary Chinese Collection’ presents 146 extraordinary works

26 TAASA REVIEW VOLUME 18 NO.1 Ancient Hampi: A Hindu Kingdom of Buddha’ statues (6 statues still extant). Japanese audience, putting the images in their bought to life www.tnm.go.jp/en social context and that of the artistic tradition Immigration Museum, Melbourne from which they emerged. 13 November 2008 - January 2010 UNITED KINGDOM www.mfa.org

This interactive exhibition offers visitors the Shah ‘Abbas: The Remaking of Iran Power and Glory: Court Arts of China’s Ming opportunity to immerse themselves in the British Museum, London Dynasty stunning World Heritage site of Hampi in 19 February – 14 June 2009 Saint Louis Art Museum, Saint Louis Southern India. Using state of the art digital February 22 - May 17 2009 technologies the visitor can travel back to 14th Shah of Iran from 1587 – 1629 AD, Shah century Hampi in India and visit the seat of ‘Abbas fostered good relations with Europe The exhibition will include works from the the Vijayanagara Empire. Go to http://place- and ushered in a golden period in the arts, Ming Dynasty (1368 to 1644), with over 125 hampi.museum for more information about commissioning beautiful works of art and spectacular works commissioned by, or the international digital project. grand architecture. The exhibition will feature presented to, the imperial courts in both www.museumvictoria.com.au luxurious gold-ground carpets, exquisite Nanjing (the first Ming capital) and Beijing. Chinese porcelains, illustrated manuscripts, www.slam.org INTERNATIONAL watercolour paintings, metalwork, beautiful silks and examples of the work of the famous The Dragon’s Gift: the Sacred Arts of Bhutan JAPAN calligrapher Ali Riza ‘Abbasi. Asian Art Museum, San Francisco www.britishmuseum.org 20 February – May 10 2009 The National Treasure Ashura and Masterpieces from Kofukuji USA This is an exceptionally rare opportunity to Tokyo National Museum, Tokyo view some of the most sacred and beloved 31 March - 7 June 2009 Showa Sophistication: Japan in the 1930s Buddhist art in Bhutan. Many of the 150 Museum of Fine Arts, Boston objects – intricate paintings, sculptures, The National Treasure Ashura commemorates 11 February - 8 November 2009 textiles, and more – are still used in temple the 1300th anniversary of Kofukuji in Nara. and monastery rituals and are on public view Tenpyo era (729-49) sculpture, many of them The Museum recently acquired seventeen for the first time. national treasures, will be displayed together Japanese paintings largely produced and www.asianart.org for the first time outside the temple, including exhibited in Tokyo in the 1930s, the early the hachibushu statues (‘eight classes of Showa era. These works are interpreted divine protectors’) and the ‘10 great disciples from the point of view of their contemporary

LOST KINGDOMS BURMA: THE CAMBODIA: BACKROADS LAOS: LAND OF OF THAILAND ESSENTIAL ANGKOR WAT OF BURMA THE LOTUS-EATERS EXPERIENCE AND BEYOND

15 September – 30 October – 08 November – 17 November – 28 January – 30 September 2009 18 November 2009 25 November 2009 03 December 2009 10 February 2010 Thailand’s outstanding natural, TAASA contributor Dr Bob Angkor’s grandeur is One trip to Burma is simply never Enigmatic and relatively built and cultural environments Hudson guides our annual unmissable. But Cambodia enough. Backroads of Burma is undeveloped, landlocked Laos continue to attract more program which contains offers a host of other travel ideal for the second-time visitor or offers travellers an intimate travellers than any other country extended stays in medieval experiences: outstanding travellers who enjoy remote and glimpse of traditional Southeast in Southeast Asia. This program Mrauk U, capital of the lost ancient, vernacular and French bucolic locations. Starting and Asian life. Gradually emerging explores interesting aspects ancient kingdom of Arakan colonial architecture; spectacular finishing in Yangon, our schedule from its tumultuous recent of past empires, kingdoms (now Rakhine State) and riverine environments; a wends south into Mon State, history, Laos is a gem of and principalities in some Bagan, rivalling Angkor Wat revitalizing urban capital; and visiting Kyaiktiyo and Moulmein Indochina with interesting art, different corners of Thailand. as Southeast Asia’s richest beautiful countryside. Join Gill before heading north to Sri architecture, French and Lao Archaeologist Dr Bob Hudson archaeological precinct. Green, art historian, author and Ksetra, the ancient Pyu capital. cuisine, intricate river systems, is leader. Experiences in Yangon, Inle Vice President of TAASA and Mystical Mount Popa, Bagan, and rugged highlands. Darryl Australian expatriate university Monywa and the spectacular Land Only cost per person Lake, Mandalay and a private Collins, long term Southeast and museum lecturer Darryl cave temples of Po Win Taung, ex Bangkok $4500 cruise down the mighty Asian resident, has designed Ayeyarwady are also included. Collins on a repeat of our Sagaing and Mandalay follow. and will guide a comprehensive successful 2008 program. Dr Bob Hudson is program leader. Land Only cost per person tour of Laos which includes Land Only cost per person ex Yangon $4750 Land Only cost per person wonderful Luang Prabang, the ex Phnom Penh $4700 ex Yangon $4150 historic royal city and Wat Phu Champasak. For a brochure or further information phone Ray Boniface at Heritage Destinations Land Only cost per person on (02) 9267 0129 or email [email protected] ex Vientiane $4400

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

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