Transcript of the Acoustiguide Audio Tour
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Views of a Porcelain 15
THE INFLUENCE OF GLASS TECHNOLOGY vessels nor to ceramic figurines, but to beads made in imitation of imported glass.10 The original models were ON CHINESE CERAMICS eye-beads of a style produced at numerous sites around the Mediterranean, in Central Asia and also in southern Russia, and current in the Near East since about 1500 Nigel Wood BC.11 A few polychrome glass beads found their way to Research Laboratory for Archaeology and the History of Art, University of Oxford. China in the later Bronze Age, including one example excavated from a Spring and Autumn period (770-476 BC) site in Henan province.12 This particular blue and ONE OF THE MOST IMPORTANT AND ENDURING DIFFER- white eye bead was of a style current in the eastern ences between the ceramics of China and the Near East Mediterranean in the 6th to 3rd century BC and proved lies in the role that glass has played in the establishment to have been coloured by such sophisticated, but of their respective ceramic traditions. In the ceramics of typically Near Eastern, chromophores as calcium- Mesopotamia, Persia, Egypt, and Syria glass technology antimonate-white, cobalt-blue and a copper-turquoise, proved vital for the development of glazed ceramics. while its glass was of the soda-lime type, common in 13 Figure 2. Earthenware jar with weathered glazes. Warring States Following the appearance of glazed stone-based the ancient world. period. Probably 3rd century BC (height: 9.5 cm). The British ceramics in the fourth millennium BC, the first glazes These ‘western’ beads would have been wonders in Museum. -
From the Lands of Asia
Education Programs 2 3 TABLE OF CONTENTS Preparing students in advance p. 4 Vocabulary and pronunciation guide pp. 5–8 About the exhibition p. 9 The following thematic sections include selected objects, discussion questions, and additional resources. I. Costumes and Customs pp. 10–12 II. An Ocean of Porcelain pp. 13–15 III. A Thousand Years of Buddhism pp. 16–19 IV. The Magic of Jade pp. 20–23 Artwork reproductions pp. 24–32 4 PREPARING STUDENTS IN ADVANCE We look forward to welcoming your school group to the Museum. Here are a few suggestions for teachers to help to ensure a successful, productive learning experience at the Museum. LOOK, DISCUSS, CREATE Use this resource to lead classroom discussions and related activities prior to the visit. (Suggested activities may also be used after the visit.) REVIEW MUSEUM GUIDELINES For students: • Touch the works of art only with your eyes, never with your hands. • Walk in the museum—do not run. • Use a quiet voice when sharing your ideas. • No flash photography is permitted in special exhibitions or permanent collection galleries. • Write and draw only with pencils—no pens or markers, please. Additional information for teachers: • Please review the bus parking information provided with your tour confirmation. • Backpacks, umbrellas, or other bulky items are not allowed in the galleries. Free parcel check is available. • Seeing-eye dogs and other service animals assisting people with disabilities are the only animals allowed in the Museum. • Unscheduled lecturing to groups is not permitted. • No food, drinks, or water bottles are allowed in any galleries. -
Karbury's Auction House
Karbury's Auction House Antiques Estates & Collection Sale Saturday - September 8, 2018 Antiques Estates & Collection Sale 307: A Chinese Gilt Bronze Buddhist Figure USD 300 - 500 308: A Set of Four Bronze Cups USD 200 - 300 309: A Song Style Jizhou Tortoiseshell-Glazed Tea Bowl USD 1,000 - 2,000 310: A Bronze Snake Sculpture USD 100 - 200 311: A Wood Pillow with Bone Inlaid USD 100 - 200 312: A Carved Ink Stone USD 200 - 300 313: A Stone Carved Head of Buddha USD 100 - 200 314: A Doucai Chicken Cup with Yongzheng Mark USD 500 - 700 Bid Live Online at LiveAuctioneers.com Page 1 Antiques Estates & Collection Sale 315: A Jian Ware Tea Bowl in Silver Hare Fur Streak USD 800 - 1,500 316: A Celadon Glazed Double Gourd Vase USD 400 - 600 317: Three Porcelain Dog Figurines USD 200 - 400 318: A Jun ware flower Pot USD 1,500 - 2,000 319: A Pair of Famille Rose Jars with Cover USD 800 - 1,200 320: A Blanc-De-Chine Figure of Seated Guanyin USD 1,500 - 2,000 321: A Pair of Vintage Porcelain Lamps USD 200 - 300 322: A Chicken Head Spout Ewer USD 800 - 1,200 Bid Live Online at LiveAuctioneers.com Page 2 Antiques Estates & Collection Sale 323: Two sancai figures and a ceramic cat-motif pillow USD 200 - 300 324: A Teadust Glazed Vase with Qianlong Mark USD 500 - 800 325: A Rosewood Tabletop Curio Display Stand USD 300 - 500 326: A Blue and White Celadon Glazed Vase USD 300 - 500 327: A Wucai Dragon Jar with Cover USD 300 - 500 328: A Green and Aubergine-Enameled Yellow-Ground Vase USD 200 - 300 329: A Celadon Square Sectioned Dragon Vase USD 200 - 300 -
Claiming the Hydraulic Network of Angkor with Viṣṇu
Journal of Archaeological Science: Reports 9 (2016) 275–292 Contents lists available at ScienceDirect Journal of Archaeological Science: Reports journal homepage: www.elsevier.com/locate/jasrep Claiming the hydraulic network of Angkor with Viṣṇu: A multidisciplinary approach including the analysis of archaeological remains, digital modelling and radiocarbon dating: With evidence for a 12th century renovation of the West Mebon Marnie Feneley a,⁎, Dan Penny b, Roland Fletcher b a University of Sydney and currently at University of NSW, Australia b University of Sydney, Australia article info abstract Article history: Prior to the investigations in 2004–2005 of the West Mebon and subsequent analysis of archaeological material in Received 23 April 2016 2015 it was presumed that the Mebon was built in the mid-11th century and consecrated only once. New data Received in revised form 8 June 2016 indicates a possible re-use of the water shrine and a refurbishment and reconsecration in the early 12th century, Accepted 14 June 2016 at which time a large sculpture of Viṣṇu was installed. Understanding the context of the West Mebon is vital to Available online 11 August 2016 understanding the complex hydraulic network of Angkor, which plays a crucial role in the history of the Empire. Keywords: © 2016 The Authors. Published by Elsevier Ltd. This is an open access article under the CC BY-NC-ND license Archaeology (http://creativecommons.org/licenses/by-nc-nd/4.0/). Angkor Digital visualisation 3D max Hydraulic network Bronze sculpture Viṣṇu West Mebon 14C dates Angkor Wat Contents 1. Introduction.............................................................. 276 2. The West Mebon — background.................................................... -
Gandharan Origin of the Amida Buddha Image
Ancient Punjab – Volume 4, 2016-2017 1 GANDHARAN ORIGIN OF THE AMIDA BUDDHA IMAGE Katsumi Tanabe ABSTRACT The most famous Buddha of Mahāyāna Pure Land Buddhism is the Amida (Amitabha/Amitayus) Buddha that has been worshipped as great savior Buddha especially by Japanese Pure Land Buddhists (Jyodoshu and Jyodoshinshu schools). Quite different from other Mahāyāna celestial and non-historical Buddhas, the Amida Buddha has exceptionally two names or epithets: Amitābha alias Amitāyus. Amitābha means in Sanskrit ‘Infinite light’ while Amitāyus ‘Infinite life’. One of the problems concerning the Amida Buddha is why only this Buddha has two names or epithets. This anomaly is, as we shall see below, very important for solving the origin of the Amida Buddha. Keywords: Amida, Śākyamuni, Buddha, Mahāyāna, Buddhist, Gandhara, In Japan there remain many old paintings of the Amida Triad or Trinity: the Amida Buddha flanked by the two bodhisattvas Avalokiteśvara and Mahāsthāmaprāpta (Fig.1). The function of Avalokiteśvara is compassion while that of Mahāsthāmaprāpta is wisdom. Both of them help the Amida Buddha to save the lives of sentient beings. Therefore, most of such paintings as the Amida Triad feature their visiting a dying Buddhist and attempting to carry the soul of the dead to the AmidaParadise (Sukhāvatī) (cf. Tangut paintings of 12-13 centuries CE from Khara-khoto, The State Hermitage Museum 2008: 324-327, pls. 221-224). Thus, the Amida Buddha and the two regular attendant bodhisattvas became quite popular among Japanese Buddhists and paintings. However, the origin of this Triad and also the Amida Buddha himself is not clarified as yet in spite of many previous studies dedicated to the Amida Buddha, the Amida Triad, and the two regular attendant bodhisattvas (Higuchi 1950; Huntington 1980; Brough 1982; Quagliotti 1996; Salomon/Schopen 2002; Harrison/Lutczanits 2012; Miyaji 2008; Rhi 2003, 2006). -
Art: Authenticity, Restoration, Forgery
UCLA Cotsen Institute of Archaeology Press Title Art: Authenticity, Restoration, Forgery Permalink https://escholarship.org/uc/item/5xf6b5zd ISBN 978-1-938770-08-1 Author Scott, David A. Publication Date 2016-12-01 Data Availability The data associated with this publication are within the manuscript. Peer reviewed eScholarship.org Powered by the California Digital Library University of California READ ONLY/NO DOWNLOADS Art: Art: Authenticity, Restoration, ForgeryRestoration, Authenticity, Art: Forgery Authenticity, Restoration, Forgery David A. Scott his book presents a detailed account of authenticity in the visual arts from the Palaeolithic to the postmodern. The restoration of works Tof art can alter the perception of authenticity, and may result in the creation of fakes and forgeries. These interactions set the stage for the subject of this book, which initially examines the conservation perspective, then continues with a detailed discussion of what “authenticity” means, and the philosophical background. Included are several case studies that discuss conceptual, aesthetic, and material authenticity of ancient and modern art in the context of restoration and forgery. • Scott Above: An artwork created by the author as a conceptual appropriation of the original Egyptian faience objects. Do these copies possess the same intangible authenticity as the originals? Photograph by David A. Scott On front cover: Cast of author’s hand with Roman mask. Photograph by David A. Scott MLKRJBKQ> AO@E>BLILDF@> 35 MLKRJBKQ> AO@E>BLILDF@> 35 CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CLQPBK IKPQFQRQB LC AO@E>BLILDV POBPP CIoA Press READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery READ ONLY/NO DOWNLOADS READ ONLY/NO DOWNLOADS Art: Authenticity, Restoration, Forgery David A. -
Cambridge University Press 978-1-108-49995-8 — the City of Blue and White Anne Gerritsen Index More Information
Cambridge University Press 978-1-108-49995-8 — The City of Blue and White Anne Gerritsen Index More Information 321 Index Note: Page numbers in bold refer to fi gures, and those in italics refer to maps. Abbasid Caliphate (750–1258), trade in, 1 – 2 introduction of, 15 Abu- Lughod, Janet, 44 – 46 , 45 , 47 , 55 Jingdezhen emergence of, 61 , 68 Ackerman- Lieberman, Phillip, 59 Jingdezhen global production of, 5 Africa, porcelain trade in, 59 in Joseon Korea, 125 , 125 , 126 animal patterns, 198 Kessler on dating of, 64 in Jizhou ceramics, 82 – 83 , 93 – 94 , 95 Linjiang kilns and, 102 – 103 see also deer ; dragon in ritual texts, 127 – 128 archaeologists, on porcelains, 6 , 117 in shard market, 3 – 5 , 16 , 1 7 archaeology, 6 , 12 – 13 , 34 , 52 , 82 – 83 , 106 underglaze painting of, 67 Cizhou ware ceramics, 32 – 33 Yu a n d y n a s t y a n d , 6 6 Ding ware ceramics, 24 , 32 – 33 bluish- white glaze, of qingbai ceramics, 40 Fengzhuang storehouse, 21 – 22 ‘Book of Ceramics’, see Taoshu hoards, 72 bottle Hutian kilns, 49 , 264n54 gourd- shaped, 196 – 197 , 196 , 198 , 214 Jizhou ware, 93 , 97 in shard market, 3 – 5 Linjiang kiln site, 102 – 103 tall- necked porcelain, 198 , 199 , maritime, 12 – 13 , 52 – 55 , 127 – 128 204 – 205 , 215 qingbai ceramics, 52 bowl, 172 shard market, 1 , 16 , 1 7 fi sh, 228 – 230 S i n a n s h i p w r e c k , 5 2 – 5 5 glaze patterns for, 35 – 36 Western Xia dynasty, 51 Jizhou ceramics dated, 95 , 96 , 97 Yonghe kilns, 76 , 77 w i t h luanbai glaze, 47 – 48 , 48 Ardabil collection, 205 in shard market, 3 – 5 art history, of porcelains, 6 see also tea bowls ‘Assorted Jottings of Shi Yushan’ Shi Yushan Brandt, George, 64 bieji (Shi Runzhang), 101 Brankston, A. -
Ming Dynasty Porcelain Plate Laura G
Wonders of Nature and Artifice Art and Art History Fall 2017 Blue-and-White Wonder: Ming Dynasty Porcelain Plate Laura G. Waters '19, Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/wonders_exhibit Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, History of Science, Technology, and Medicine Commons, Industrial and Product Design Commons, and the Intellectual History Commons Share feedback about the accessibility of this item. Waters, Laura G., "Blue-and-White Wonder: Ming Dynasty Porcelain Plate" (2017). Wonders of Nature and Artifice. 12. https://cupola.gettysburg.edu/wonders_exhibit/12 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/wonders_exhibit/12 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. Blue-and-White Wonder: Ming Dynasty Porcelain Plate Abstract This authentic Ming Dynasty (1368-1644) plate is a prime example of early export porcelain, a luminous substance that enthralled European collectors. The eg nerous gift of oJ yce P. Bishop in honor of her daughter, Kimberly Bishop Connors, Ming Dynasty Blue-and-White Plate is on loan from the Reeves Collection at Washington and Lee University in Lexington, Virginia. The lp ate itself is approximately 7.75 inches (20 cm) in diameter, and appears much deeper from the bottom than it does from the top. -
Chinese Ceramics in the Late Tang Dynasty
44 Chinese Ceramics in the Late Tang Dynasty Regina Krahl The first half of the Tang dynasty (618–907) was a most prosperous period for the Chinese empire. The capital Chang’an (modern Xi’an) in Shaanxi province was a magnet for international traders, who brought goods from all over Asia; the court and the country’s aristocracy were enjoying a life of luxury. The streets of Chang’an were crowded with foreigners from distant places—Central Asian, Near Eastern, and African—and with camel caravans laden with exotic produce. Courtiers played polo on thoroughbred horses, went on hunts with falconers and elegant hounds, and congregated over wine while being entertained by foreign orchestras and dancers, both male and female. Court ladies in robes of silk brocade, with jewelry and fancy shoes, spent their time playing board games on dainty tables and talking to pet parrots, their faces made up and their hair dressed into elaborate coiffures. This is the picture of Tang court life portrayed in colorful tomb pottery, created at great expense for lavish burials. By the seventh century the manufacture of sophisticated pottery replicas of men, beasts, and utensils had become a huge industry and the most important use of ceramic material in China (apart from tilework). Such earthenware pottery, relatively easy and cheap to produce since the necessary raw materials were widely available and firing temperatures relatively low (around 1,000 degrees C), was unfit for everyday use; its cold- painted pigments were unstable and its lead-bearing glazes poisonous. Yet it was perfect for creating a dazzling display at funeral ceremonies (fig. -
The Global Connections of Gandhāran Art
More Gandhāra than Mathurā: substantial and persistent Gandhāran influences provincialized in the Buddhist material culture of Gujarat and beyond, c. AD 400-550 Ken Ishikawa The Global Connections of Gandhāran Art Proceedings of the Third International Workshop of the Gandhāra Connections Project, University of Oxford, 18th-19th March, 2019 Edited by Wannaporn Rienjang Peter Stewart Archaeopress Archaeology Archaeopress Publishing Ltd Summertown Pavilion 18-24 Middle Way Summertown Oxford OX2 7LG www.archaeopress.com ISBN 978-1-78969-695-0 ISBN 978-1-78969-696-7 (e-Pdf) DOI: 10.32028/9781789696950 www.doi.org/10.32028/9781789696950 © Archaeopress and the individual authors 2020 Gandhāran ‘Atlas’ figure in schist; c. second century AD. Los Angeles County Museum of Art, inv. M.71.73.136 (Photo: LACMA Public Domain image.) This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. This book is available direct from Archaeopress or from our website www.archaeopress.com Contents Acknowledgements ����������������������������������������������������������������������������������������������������������������������������iii Illustrations ����������������������������������������������������������������������������������������������������������������������������������������iii Contributors ��������������������������������������������������������������������������������������������������������������������������������������� iv Preface ������������������������������������������������������������������������������������������������������������������������������������������������ -
BUSINESS PLAN ANNUAL BUDGET FY 2019 [This Page Left Intentionally Blank.]
BUSINESS PLAN ANNUAL BUDGET FY 2019 [This page left intentionally blank.] 2 FY 2019 Business Plan and Budget Table of Contents Fiscal 2019 Board of Directors ...................................................................................7 Transmittal Letter ....................................................................................................... 9 List of Principal Officials ........................................................................................... 15 Trinity Metro Organizational Chart ........................................................................... 17 GFOA Distinguished Budget Presentation Award .................................................... 19 Strategic Goals and Accomplishments Transit Master Plan ....................................................................................... 21 Short-Term Goals for Fiscal 2019 .................................................................. 23 Major Capital Projects for Fiscal 2019 ........................................................... 24 Fiscal 2018 Accomplishments ....................................................................... 25 FY 2019 Business Plan Business Plan Introduction ............................................................................ 27 Trinity Metro’s Service Area........................................................................... 28 Trinity Metro’s Services ................................................................................. 31 TEXRail Overview ........................................................................................ -
Views of Angkor in French Colonial Cambodia (1863-1954)
“DISCOVERING” CAMBODIA: VIEWS OF ANGKOR IN FRENCH COLONIAL CAMBODIA (1863-1954) A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Jennifer Lee Foley January 2006 © 2006 Jennifer Lee Foley “DISCOVERING” CAMBODIA: VIEWS OF ANGKOR IN FRENCH COLONIAL CAMBODIA (1863-1954) Jennifer Lee Foley, Ph. D Cornell University 2006 This dissertation is an examination of descriptions, writings, and photographic and architectural reproductions of Angkor in Europe and the United States during Cambodia’s colonial period, which began in 1863 and lasted until 1953. Using the work of Mary Louise Pratt on colonial era narratives and Mieke Bal on the construction of narratives in museum exhibitions, this examination focuses on the narrative that came to represent Cambodia in Europe and the United States, and is conducted with an eye on what these works expose about their Western, and predominately French, producers. Angkor captured the imagination of readers in France even before the colonial period in Cambodia had officially begun. The posthumously published journals of the naturalist Henri Mouhot brought to the minds of many visions of lost civilizations disintegrating in the jungle. This initial view of Angkor proved to be surprisingly resilient, surviving not only throughout the colonial period, but even to the present day. This dissertation seeks to follow the evolution of the conflation of Cambodia and Angkor in the French “narrative” of Cambodia, from the initial exposures, such as Mouhot’s writing, through the close of colonial period. In addition, this dissertation will examine the resilience of this vision of Cambodia in the continued production of this narrative, to the exclusion of the numerous changes that were taking place in the country.