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Trade and Culture Trade And VOLUME 22 NO. VOLUME JUNE 2013 2 THE JOURNAL OF THE ASIAN ARTS SOCIETY OF AUSTRALIA TAASA Review TRADE AND CULTURE CONTENTS Volume 22 No. 2 June 2013 3 EDITORIAL: TRADE AND CULTURE TAASA REVIEW Jim Masselos and Charlotte Galloway THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 22 No. 2, June 2013 4 EAST OF INDIA – FORGOTTEN TRADE WITH AUSTRALIA AT THE AUSTRALIAN ISSN 1037.6674 Registered by Australia Post. Publication No. NBQ 4134 NATIONAL MARITIME MUSEUM Michelle Linder editoriAL • email: [email protected] 7 FIRST ENCOUNTERS: THE PORTUGUESE IN JAPAN General editor, Josefa Green Olivia Meehan PUBLICATIONS COMMITTEE 10 MEDALLION PATTERNS AT ANGKOR WAT AND ALCHI (LADAKH): SHARED MEANINGS Josefa Green (convenor) • Tina burge Melanie Eastburn • Sandra Forbes • Charlotte Galloway Gill Green William Gourlay • Marianne Hulsbosch 13 CULTURAL POLITICS: BATIK AND WAYANG IN INDONESIA AND MALAYSIA Jim Masselos • Ann Proctor • Sabrina Snow Christina Sumner Marshall Clark DESIGN/LAYOUT 16 UNLIKELY CONNECTIONS: THE MAKASSANS, THE YOLNGU AND THE DUTCH Ingo Voss, VossDesign EAST INDIES COMPANY PRINTING James Bennett John Fisher Printing 18 A PAIR OF 19TH CENTURY COMPANY PAINTINGS FROM PATNA AT THE Published by The Asian Arts Society of Australia Inc. NATIONAL GALLERY OF VICTORIA PO Box 996 Potts Point NSW 2011 www.taasa.org.au Carol Cains Enquiries: [email protected] 21 THE SPREAD OF INDIAN RELIGIOUS BELIEFS: A FIRST CENTURY BURMESE STELE TAASA Review is published quarterly and is distributed to members Pamela Gutman of The Asian Arts Society of Australia Inc. TAASA Review welcomes submissions of articles, notes and reviews on Asian visual and 23 LAUNCH OF TAASA SYDNEY CERAMICS STUDY GROUP, 4 APRIL 2013 performing arts. All articles are refereed. Additional copies and John Millbank subscription to TAASA Review are available on request. 24 IN THE PUBLIC DOMAIN: TRADE CERAMICS IN THE AGNSW No opinion or point of view is to be construed as the opinion of The Asian Arts Society of Australia Inc., its staff, servants or agents. Jackie Menzies No claim for loss or damage will be acknowledged by TAASA Review as a result of material published within its pages or 25 BOOK REVIEW: CHINESE EXPORT CERAMICS in other material published by it. We reserve the right to alter Jackie Menzies or omit any article or advertisements submitted and require indemnity from the advertisers and contributors against damages 26 COLLECTOR’S CHOICE: A COLLECTION OF FILIPINO SANTOS or liabilities that may arise from material published. Pamela Walker with Ron Walker All reasonable efforts have been made to trace copyright holders. 27 ARMCHAIR TRAVEL TO TAASA’S AGM TAASA MEMBERSHIP RATES Sandra Forbes $70 Single (Australia and overseas) 28 BOOK REVIEW: ARTS OF VIETNAM $90 Dual (Australia and overseas) $95 Libraries (Australia and overseas) Ann Proctor $35 Concession (full-time students under 26, pensioners 29 RECENT TAASA ACTIVITIES and unemployed with ID, Seniors Card not included) 29 TAASA MEMBERS’ DIARY: JUNE 2013 - AUGUST 2013 ADVERTISING RATES TAASA Review welcomes advertisements from 31 WHAT’S ON IN AUSTRALIA: JUNE 2013 - AUGUST 2013 appropriate companies, institutions and individuals. Compiled by Tina Burge Rates below are GST inclusive. Back page $850 Full inner page $725 Half page horizontal $484 Third page (vertical or horizontal) $364 Half column $265 Insert $300 For further information re advertising, including discounts for regular quarterly advertising, please contact [email protected] THE DEADLINE FOR ALL ARTICLES FOR OUR NEXT ISSUE IS 1 JULY 2013 LANDING [waler] HORSES FROM MADRAS, ATTRIBUTED to J. B. EAST C. 1834 (detail). THE DEADLINE FOR ALL ADveRTISING REPRODUCED COURTESY DIXSON COLLECTION State LIBRARY OF NEW SOUTH WALES. SEE PP4-6. FOR OUR NEXT ISSUE IS 1 AUGUST 2013 A FULL INDEX OF ARTICLES PUBLISHED IN TAASA REVIEW SINCE ITS BEGINNINGS IN 1991 IS AVAILABLE ON THE TAASA WEB SITE, WWW.TAASA.ORG.AU 2 TAASA COMMITTEE EDITORIAL: TRADE AND CULTURE GiLL Green • PRESIDENT Jim Masselos and Charlotte Galloway Art historian specialising in Cambodian culture Ann ProCTOR • VICE PRESIDENT It was common in the 19th and 20th centuries by the existence of common decorative Art historian with a particular interest in Vietnam to point out that trade followed the flag. The patterns based on Indian trade textiles, which todd SundermAn • TREASURER aphorism went some way in explaining the provided the background for both Buddhist Former Asian antique dealer, with a particular interest nature of empires and what happened under and Hindu narratives on statues and walls in Tibetan furniture their sway. It did little though to acknowledge in Himalayan Alchi and Cambodian Angkor dy AndreASen • SECRETARY the intricacies of regional trade and cultural respectively. Has a special interest in Japanese haiku and tanka poetry interactions that had been taking place for millennia. Well established patterns of sea trade HWEI-FE’N CHEAH amongst Asian countries also existed in Visiting Fellow, School of Cultural Inquiry, Australian This issue of the TAASA Review focuses on the relation to ceramics, such as the so-called National University. way in which local art and culture responded Nanhai or Southern Seas trade, long before MATT COX to the influences which came through trade, Western traders entered the lucrative market Assistant Curator, Asian Art, Art Gallery of NSW both inter-regional and international. Perhaps in the 1500s. Jackie Menzies provides an CHARLOTTE GALLOWAY our concerns can set up another aphorism: overview of this movement of goods, using Lecturer Asian Art History and Curatorial Studies, culture follows trade. In general the articles the standing display of trade objects in the Art Australian National University, with a special interest examine the spread of cultures, belief Gallery of NSW. in the Buddhist Art of Myanmar systems, and their arts as they piggybacked JOSEFA GREEN on the extensive trade networks that provided With the Europeans, first the Portuguese, and General editor of TAASA Review. Collector of Chinese contacts between different parts of Asia. then the Dutch, British, Spanish, Danish and ceramics, with long-standing interest in East Asian While the arts did not drive trade they were French, came an equally radical, if different, art as student and traveller an ancillary in its movement, as trade carried metaphysic. Olivia Meehan discusses the ANN GUILD new objects, novel designs and new kinds of rapid but short-term impact of the Portuguese Former Director of the Embroiders Guild (UK) perceptions and beliefs from one part of this on Japanese narrative art forms and Pamela vast region to another. and Ron Walker in their account of Filipino MIN-JUNG KIM Santos, present marvellously fresh Christian Curator of Asian Arts & Design at the Powerhouse Museum Summarising the endeavour of this issue is images re-imagined within a distinctive YUKIE SATO the East of India exhibition at the Maritime Asian context. Former Vice President of the Oriental Ceramic Society of Museum in Sydney. Through her discussion the Philippines with wide-ranging interest in Asian art of the multiplicity of interactions on display, James Bennett explores holdings in the and culture Michelle Linder outlines the connections Art Gallery of South Australia to illustrate SUSAN SCOLLAY between India under the sway of the East how trading relationships expose the Is an art historian and curator specialising in the arts of India Company and the Australian colonies in cultural interests of each party. In the case Islam and in historic textiles. She is Fellow of the Royal the first half of the 19th century, an interaction of foreign trade with Indonesia, the Dutch Asiatic Society of the UK. little acknowledged in our national history. were interested in gold and weaponry, CHRISTINA SUMNER while Indigenous Australians enmeshed the Principal Curator, Design and Society, That the East India Company had a profound Indonesian fishermen and trepang trade into Powerhouse Museum, Sydney impact upon the territories it dominated their histories through bark painting. MARGARET WHITE is shown in Carol Cains’ discussion of Former President and Advisor of the Friends of Museums, Company painting, works commissioned by Globalisation and transnational interchange Singapore, with special interest in Southeast Asian art, Company officials in India. In the days before are clearly not just a recent construct. ceramics and textiles photography, Company personnel employed However, in a contemporary world with STATE REPRESENTATIVES local artists to record the sites and society delineated geo-political boundaries, of the strange and different place they were ownership of cultural symbols becomes an AUSTRALIAN Capital Territory ruling. The artists produced a European and often vexed issue. As Marshall Clark points MELANIE EASTBURN Indian mélange of forms - and a distinctive out, the rivalry between Indonesia and Curator of Asian Art, National Gallery of Australia new body of work. Malaysia over batik and wayang kulit (shadow puppet theatre) traditions demonstrates the QUEENSLAND Trade provided pathways for the movement significant role visual culture and tradition RUSSELL STORER Curatorial Manager, Asian and Pacific Art, of Buddhism, Hinduism and Islam and their play in creating national identity. Queensland Art Gallery associated artefacts for centuries before the arrival of European traders. Indian beliefs These articles offer insight into some of the SOUTH AUSTRALIA were carried to
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