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VOLUME 21 NO. 3 SEPTEMBER 2012 Review TAASA c o n t en t s

Volume 21 No. 3 September 2012

3 Editorial TAASa rEVIEW Josefa Green, Editor THE ASIAN ARTS SOCIETY OF AUSTRALIA INC. Abn 64093697537 • Vol. 21 No. 3, September 2012

4 THE NATS oF ISSN 1037.6674 Registered by Australia Post. Publication No. NBQ 4134 Sally Bamford

editorIAL • email: [email protected] 7 SCULPTURE WORKSHOPS oF aNGKOR: tWo rECENT EXCAVATIONS iN CAMBODIA General editor, Josefa Green Martin Polkinghorne publicatioNS Committee 10 FROM CAMEL GIRTH to CONTEMPORARY GOWN: PLY-SPlit artiST ERROLL PIRES Josefa Green (convenor) • Tina Burge Carole Douglas Melanie Eastburn • Sandra Forbes Charlotte Galloway • Jim Masselos • Ann Proctor 12 ACTS OF DEVOTION – BALINESE MANDALAS Sabrina Snow • Christina Sumner Joanna Barrkman design/layout Ingo Voss, VossDesign

14 BUDDHIST TREASURES IN MONGOLIA printing Jackie Menzies John Fisher Printing Published by The Asian Arts Society of Australia Inc. 16 DIVINE WORLDS: INDIAN PAINTING AT THE NGA PO Box 996 Potts Point NSW 2011 Melanie Eastburn www.taasa.org.au

Enquiries: [email protected] 18 RESEARCHING BURMA: tHE aUSTRALIAN NATIONAL UNIVERSITY liBRARY Charlotte Galloway TAASA Review is published quarterly and is distributed to members of The Asian Arts Society of Australia Inc. TAASA Review welcomes submissions of articles, notes and reviews on Asian visual and 20 FOCUS ON INDIA at tHE 2012 SYDNEY FILM FESTIVAL performing arts. All articles are refereed. Additional copies and Jim Masselos subscription to TAASA Review are available on request.

22 BOOK rEVIEW: THE DELHI CORONATION DURBARS 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. Narayani Gupta No claim for loss or damage will be acknowledged by TAASA Review as a result of material published within its pages or 24 BOOK rEVIEW: SACRED SITES OF BURMA in other material published by it. We reserve the right to alter Pamela Gutman or omit any article or advertisements submitted and require indemnity from the advertisers and contributors against damages

26 IN tHE PUBLIC doMAIN: A BURMESE BUDDHA AT THE Maitland Regional Art Gallery or liabilities that may arise from material published.

Cheryl Farrell All reasonable efforts have been made to trace copyright holders.

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The deadliNE For all articles FOR OUR NEXT ISSUE IS 1 OCTOBER 2012 Valley of Saints, women take their wares to a boaters’ market, Kashmir, still from film. The deadliNE For all aDvertising Courtesy Sydney Film Festival. See pp20-21. FOR OUR NEXT ISSUE IS 1 NOVEMBER 2012

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 t a a S a C o mm i t t ee E d i t o r i a l

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

CHRISTINA SUMNER • Vice President Principal Curator, Design and Society, Burma has been in the spot light in recent extensive Indian painting collection. TAASA Powerhouse Museum, Sydney times, with Aung San Suu Kyi’s Nobel Peace is organising a members’ event to view this ANN GUILD • TREASURER Prize and the current seemingly rapid opening exhibition in Canberra, together with a major Former Director of the Embroiders Guild (UK) up of the country. Many TAASA members contemporary Chinese portrait exhibition at dY aNdreasen • SECRETARY have already visited or are planning to visit the National Portrait Gallery (see Members’ Has a special interest in Japanese haiku and tanka poetry Burma, so will hopefully find a number of Diary on p 29).

Hwei-fe’N CHEah articles on Burma in this issue of interest. Visiting Fellow, School of Cultural Inquiry, Australian Textile enthusiasts will enjoy Carole Douglas’ National University. Sally Bamford shares the result of her research fascinating account of the life and work of JOCELYN CHEY into a less well known aspect of Burmese contemporary ply-split braider Erroll Pires, Visiting Professor, Department of Chinese Studies, spiritual life: a belief in the nats or guardian who is also co-ordinator of textiles at the University of Sydney; former diplomat spirits that evolved from ancestor worship and National Institute for Design at Ahmedabad.

Matt Cox a belief in supernatural forces residing in the Cineastes will enjoy Jim Masselos’ lively Study Room Co-ordinator, Art Gallery of New South landscape. Illustrated by her own photos, she take on this year’s Focus on India films at the Wales, with a particular interest in Islamic Art of paints a vivid picture of how a belief in nats 2012 Sydney Film Festival. Finally, Narayani Southeast Asia still permeates Burmese society, as evidenced Gupta’s erudite review of the latest publication Charlotte Galloway by the many shrines and images found from the Alkazi Collection of Photography, Lecturer Asian and Curatorial Studies, throughout the countryside and in homes and Power and Resistance: The Delhi Coronation Australian National University, with a special interest businesses as well as Buddhist temples. Durbars, allows the TAASA Review to dip again in the of Myanmar into this wonderful archive of 19th and early Josefa Green Art historical research on Burma has been 20th century South Asian photography. General editor of TAASA Review. Collector of Chinese impeded due to political upheaval from the ceramics, with long-standing interest in East Asian 1950s and restricted access to information Following his recent presentation at the art as student and traveller in the second half of the 20th century. This University of Sydney, I’m delighted that MIN-JUNG KIM makes collections of research material such Martin Polkinghorne has been able to Curator of Asian Arts & Design at the Powerhouse Museum as, in this case, that of Burmese specialist report in this issue on the outcome of recent ANN PROCTOR Dr David Pfanner donated to the Menzies excavations led by the Angkor Research Art historian with a particular interest in Vietnam Library at the Australian National University, Program of the University of Sydney at Yukie Sato all the more valuable. Charlotte Galloway has Angkor, Cambodia. He points out that up Former Vice President of the Oriental Ceramic Society of waded through this collection to give us some until now, the manufacturing methods and the Philippines with wide-ranging interest in Asian art interesting insights into the kind of information, activities of the artists who made the great and culture sometimes off beat, such collections can offer. Angkor sandstone and bronze sculptures SABRINA SNOW have been unknown. For the first time, these Has a long association with the Art Gallery of New South Three shorter pieces provide further differing excavations have focused on two sculpture Wales and a particular interest in the arts of China perspectives on Burma. Our regular feature, In ateliers at Angkor, with fascinating results Todd Sunderman the Public Domain presents a lovely such as the discovery of a bronze workshop, Former Asian antique dealer, with a particular interest style marble Buddha at the Maitland Regional the first of its kind, not only in Cambodia but in Tibetan furniture Art Gallery by curator Cheryl Farrell. Pamela in Southeast Asia. Margaret White Gutman reviews a 2011 publication Sacred Sites Former President and Advisor of the Friends of Museums, of Burma by Donald Stadtner, while Merry Two final contributors will be familiar to Singapore, with special interest in Southeast Asian art, Pearson reviews a Burmese produced DVD TAASA Review ceramics and textiles readers and both present of songs in the Mahagita, Burmese classical articles with a Buddhist theme, though in Hon. aUditor music tradition, featuring Yuri Takahashi as entirely different contexts. Joanna Barrkman Rosenfeld Kant and Co singer and Mahagita musician Ye Naing Linn. discusses the use of cosmic mandala designs s t a t E r ep r esen t a t i ves in Balinese devotional art. Jackie Menzies Just a note on terminology in relation to offers us a tantalizing preview of her current Australian Capital Territory Burma. Alert readers will notice that some research on Mongolian Buddhist art, in Robyn Maxwell authors in this issue have used the current UN preparation for a proposed major exhibition Visiting Fellow in Art History, ANU; Senior Curator of Asian Art, National Gallery of Australia recognised terminology for Burma, namely at the AGNSW on this subject next year. Myanmar, and Bagan, as against Queensland the older style Burma, Rangoon and Pagan. On p28 you will find a report on TAASA’s Russell Storer This is a very sensitive issue and there are 2012 AGM where new TAASA Committee Curatorial Manager, Asian and Pacific Art, arguments for both approaches. My editorial members Charlotte Galloway, Susan Scollay, Queensland Art Gallery approach has therefore been to allow each Todd Sunderman and Margaret White were South Australia author to adopt the terminology they prefer. welcomed, and outgoing members of the James Bennett Committee Sandra Forbes, Philip Courtenay Curator of Asian Art, Art Gallery of South Australia This September issue also offers a range and Lucie Folan, were heartily thanked for Victoria of Indian related topics. Melanie Eastburn their contribution to TAASA. Sandra Forbes Carol Cains previews an NGA exhibition Divine Worlds remains a member of the TAASA Publications Curator Asian Art, National Gallery of Victoria International starting 1 September which is the first Committee. exhibition dedicated to the NGA’s own

3 T HE N a t S o F MY A NM a r

Sally Bamford Typical roadside nat shrine between Mt Popa and Bagan. The sign at left warns people not to cut down the trees lest they offend the nats. © Sally Bamford 2012

lthough it is estimated that around A 90% of Myanmar (Burmese) people are Buddhist, many retain an ancient belief in the nats, guardian spirits that have evolved from ancestor worship and a belief in supernatural forces resident in features of the landscape. In the complex spiritual framework of Myanmar life, which also has space for astrology, divination, alchemy and other spiritual practices, the nats are believed to have hegemony over ‘their’ area - be that a home, road, field, village, river or mountain - and are often feared for the harm they may cause if not correctly acknowledged and appeased with offerings. Appeasing the nats ensures the health and well-being of one’s family and community, safe passage through the territory governed by a particular nat, or the success of a planned venture. Belief in the nats is common to all sections of Myanmar society, and their shrines may be seen in homes and businesses, attached to prominent trees, guarding roads nat from its fellows. This practice appears of the Rukkhadhamma Jataka. In this tale, the and on the outskirts of villages. to have its roots in the traditional costumes Buddha had come to life as a tree-spirit in a worn by professional nat kadaw, the spirit Himalayan forest, and advised his kinsfolk to The colourful creation legends of the nats have mediums who channel nats at festivals held take up their abodes in the surrounding trees. afforded artists the opportunity to portray in their honour, as recorded by the Governor Those who did not heed his advice and chose them in a wide variety of artistic contexts. of Myawadi in 1805 (Temple 1906). to dwell in giant trees growing in open spaces, Their images range from crudely carved and were uprooted and flung to the ground by a painted figures to beautifully worked statues The practice of placating the nats is believed mighty tempest, while the interlaced trees in combining the talents of master wood carvers, to stem from the ancient tradition – still the forest withstood the might of the storm. goldsmiths and jewellers. While most nat practiced today – of constructing a miniature When telling the tale, the Buddha unfolded images are three-dimensional, they are also house to appease a tree-nat whose home is the truth in the stanza: commonly found in relief carvings decorating lost when its tree is felled for house-building ‘United, forest-like, should kinsfolk stand; and monasteries, are depicted in (Maung Htin Aung 1962). This notion of The storm o’erthrows the solitary tree.’ paintings, textiles, ceramic plaques, metalwork spirits inhabiting trees is reflected in the (Chalmers 1895) and tattoos, and are also made as puppets. creation legends of many well-known nats, such as Min Mahagiri and his sister, Shwe- On the Shwezigon plaque, the Buddha is the Two pairs of protective spirit figures, found myet-nha, who were burned alive by the tree-spirit appearing on the right, identifiable at the ancient Myanmar city of Sriksetra, are King of Tagaung, Myanmar’s ancient capital. by his crown, while the poor tree-spirit who dated to as early as the 5th century (Hudson & Their spirits took up residence in a tree, but as took up residence in the solitary tree sits Lustig 2008). Made of iron – a metal believed anyone who walked in its shadow was killed, astride his former home, now uprooted and to have protective properties – these figures the King had it uprooted and thrown in the thrown to the ground. attest to a long tradition of representing river. It floated downstream to Bagan, where protective guardian spirits in Myanmar art. the two nats appeared in a dream of the King It is not uncommon to find nat imagery placed Pagodas dated to the 13th century show that of Bagan, Thinlikyaung (r. 344-387 CE) who within the grounds of Myanmar pagodas, as by this time, the nats were fully integrated rescued the tree, had carvings of Min Mahagiri the nats are conceptually a part of Myanmar into the corpus of art created for Buddhist and Shwe-myet-nha made from its wood, and , where nats and humans are merit making. Elements of royal regalia have installed them in a shrine on Mt Popa, thus both a class of being engaged in the cycle conventionally been employed by artists to beginning the long tradition of patronage of of multiple rebirth. In Myanmar Buddhist distinguish nats of the deva (or deity) class a pantheon of Thirty-Seven particular nats by cosmology, thirty-one planes of existence are from as early as the 17th century. Myanmar royalty. divided into three spheres. The first, kama- loka, includes hells, animals, ghosts, demons, Nat imagery since the late 20th century has Tree-spirit nats are illustrated on one of the and the human and nat worlds, along with evolved to portray each nat as an ageless glazed brick plaques depicting six lower deva abodes. Above kama-loka are and more ‘humanised’ being, with props which decorate the 11th century Shwezigon sixteen planes of rupa-loka, where the devas and costumes used to represent elements of at Nyaung U, near Bagan. Based on its retain a measure of corporeality, then the their creation story, or to distinguish each location, it may be identified as an illustration four planes of arupa-loka, where there is no

4 TAASA REVIE W VOLUME 21 NO.3 A statue of Thagyamin holding his identifying conch is given a touch-up at the , Yangon. © Sally Bamford 2012 corporeality (Spiro 1978). The nats Po Sin Taung and Pwa Sin Taung (Grandfather and Grandmother Elephant Mountain) occupy a niche set into the inner wall of the Yadana Man Aung Pagoda at Nyaungshwe.These two statues are typical of late 19th /early 20th century nat images, being carved from wood, depicted in traditional costume and with their features highlighted in paint or gilt. The tiered crown of the Grandfather identifies his status as a Lord, in this case of ‘Elephant Mountain’. The stance of the Grandmother – leaning slightly forward with one hand loosely by her side – is a conventional attitude of obeisance to the king, as many nats received their fief by royal decree. Statues like these were made in workshops whose artists specialised in a motif group known as nari pan, which included Buddha images, human beings and nats in human form (Moilanen & Ozhegov 1999).

Probably the most visible nat in Myanmar art is Thagyamin, Sakka in Pali, in his role as the protector of Buddhism. In this context, his image is commonly seen within pagoda and monastery precincts, incorporated into architectural or decorative features beside or above a doorway or in an attitude of homage to a Buddha image. As a nat-saw or deva nat, Thagyamin presides as a lord over the second level of nat rwa, perhaps more familiarly known to Buddhists as Tavatimsa heaven.

Thagyamin is conventionally portrayed wearing elements of royal costume, usually including a tiered crown, ornate jewellery and a yin-hlwan, the long front piece with flaring lappets shown in a folding manuscript illustrating sumptuary dress from King Thibaw’s court in the 1880s. Historically, Thagyamin always appeared in full royal ceremonial dress in traditional puppet theatre, whereas human actors portraying royalty were limited to symbolic attributes. Today, Thagyamin puppets are still portrayed in full ceremonial dress, an enduring reminder of the splendour of the royal court and a popular tourist souvenir. the 17th century, while by the 19th century, Nyidaw was executed by the King – thereby nat-saw images were conventionally carved in becoming a nat – for failing to contribute his The use of nat-saw imagery in artistic contexts hieratic, formal postures of adoration. share of bricks to the building of a pagoda. He remained the prerogative of Myanmar royalty had fallen in love with Ma Mei U, a virtuous until its abrupt demise in 1885, accounting In stark contrast, more naturalistic poses are wife and weaver who spurned his advances. for the common occurrence of these images found in carvings of non-deva nats, which are As a nat, angered at being refused, he sent a within the many religious foundations usually portrayed in narrative scenes related tiger to drag her away while she sat at her loom commissioned as acts of merit by Myanmar to their creation legend, often alongside (U Tun Aung Chain & U Thein Hlaing 1996). kings. Nat-saw imagery was included in the carvings of Jataka tales. An elaborately carved decorative schema of pagodas from at least the screen was created in the 1920s to decorate the While all the nats are essentially guardian 13th century; the Thambula pagoda at Bagan entrance to the Hall of the Buddha’s Footprint spirits, they can be deemed to fall within features a stucco decoration over its arched at the Shwedagon Pagoda in Yangon, featuring three categories relating to their origin: as an doorway in the form of a winged nat figure the story of Ma Mei U and the nat Shwebyin ancestor or nature spirit; as a deva nat such standing on a three-headed naga. The use of Nyidaw, also known as the younger of as Thagyamin, or as a human – sometimes the royal yin-hlwan and tiered crown is found the Taungbyon Brothers. A soldier of King mythical – who has become a nat after on sandstone images of Thagyamin dated to Anawrahta in the 11th century, Shwebyin meeting a violent or unexpected death. Today,

TAASA REVIE W VOLUME 21 NO.3 5 Tree-spirit nats, moulded decoration on glazed brick plaque illustrating the A nat-saw figure situated above a doorway at a monastery, Rukkhadhamma Jataka at the Shwezigon Pagoda, Nyaung U. © Sally Bamford 2012 Salay. © Sally Bamford 2012

the two foremost places to see assemblies of woman or a naga, her supernatural origin is Sally Bamford first visited Myanmar in 1995 and various nats are at Mt Popa, the site of an expressed by giving her a semi-human face with completed her art history Honours thesis on the ‘art important shrine, while another pantheon of a distinctly serpent-like cast, featuring slitted of the nat’ in 2011. She is planning to undertake a ancient nats may be seen in their own shrines eyes and a protruding lower face (Brown 1915). PhD on the history and representation of the nats in within the Shwezigon pagoda compound. A more modern image of Shwe Nabe, housed Myanmar material culture. The Shwezigon sculptures clearly reference in a major nat shrine at Mt Popa, illustrates how the nats’ origins as nature spirits by depicting nat imagery has evolved. While both statues REFERENCES Brown, RG. 1915. ‘The Taungbyon Festival’, Journal of the Royal them as anthropomorphised supernaturals, have exactly the same stance, wear a naga Asiatic Society of Great Britain and Ireland, plate XVII. while the majority of imagery found at Mt headdress and grasp a naga in both hands, the Chalmers, R (Trans.) & Cowell EB (ed.) 1895. The Jataka Vol. 1, Popa is more ‘human’ in appearance. more recent statue at Mt Popa seems, to Western sacred-texts.com, viewed 24 June 2012, http://www.sacred-texts. eyes, to have the rather bland appearance of a com/bud/j1/j1077.htm

Two important nat images found at the department store mannequin. Here, her hieratic Hudson, B & Lustig, T. 2008. ‘Communities of the past: A new Shwezigon pagoda are the father and son Shwe posture and frozen features demonstrate her view of the old walls and hydraulic system at Sriksetra, Myanmar Myo Zin and Shwe Zaga, sea-spirits known agelessness and supernatural origin, while (Burma)’, Journal of Southeast Asian Studies 39(2), pp. 269-296. collectively as ‘Son one month older than the her naga ‘nature’ is further illustrated by her Maung Htin Aung, 1962. Folk Elements in Burmese Buddhism, Father’, who were summoned by the King shimmering green longyi, clearly patterned to Oxford University Press, London. to take up residence at the Pagoda and act as show the scales of a serpent. Moilanen I & Ozhegov SS. 1999. Mirrored in Wood: Burmese Art and Architecture, White Lotus Press, Bangkok. guardians of Buddhism. As Shwe Zaga arrived one month earlier, he was given a higher position There are few known and documented early Spiro, M. 1978. Burmese Supernaturalism, ISHI, Philadelphia. in the shrine than his father. In these massive, examples of nat imagery, and many older Temple, RC. 1906. ‘A Native Account of the Thirty-Seven Nats’, The Indian Antiquary 1906, pp. 217-227. squat figures seated in ardhaparyankasana, the examples have disappeared into private pose of royal ease, it is evident that the artists collections, their stories unrecorded and their U Tun Aung Chain & U Thein Hlaing. 1996. Shwedagon, The Universities Press, Yangon. conceived these nats with nature spirit origins provenance lost to art historians. Those still as semi-human in appearance. extant in Myanmar are of course revered as representations of the spirits they embody, and In a photo published in 1915 of a statue of remain an invaluable resource to historians of Shwe Nabe, a nat who can take the form of a Myanmar art and culture.

6 TAASA REVIE W VOLUME 21 NO.3 SCU L P T U R E W o r KSH O PS o F a NGK o r : t W o r ECEN t EXC A V a t i o NS i N C A MB o d i a

Martin Polkinghorne EXAMINING THE UNDERSIDE OF UNFINISHED SCULPTURE, BAKONG SCULPTURE WORKSHOP,

ANGKOR, CAMBODIA. PHOTO: MARTIN POLKINGHORNE T he sculpture of Angkor is universally recognised as among the greatest creations of human genius. Angkorian objects are represented in every major public collection of art including many in Australia. The artists of Angkor rendered sculptures in sandstone and bronze distinguished by precision of execution and the classic canons of beauty: proportional balance and realism. Yet the methods of manufacture and the activities of the teams of artists who created these works are unknown. For the first time in Southeast Asia, excavation has been conducted at Angkor focussing on two sculpture workshops operating across at least four centuries.

In part due to absence of artists in the written record, medieval ateliers and their techniques have not been the primary focus of any major study of Southeast Asian material culture. At Angkor we do not know the names of individuals who crafted the superlative unfinished triad figures. In the 1990s during by at least one large building. Numerous sculptures, even when the quality of the a time of civil instability, these sculptures characteristic artefacts including iron and work was exceptional. The few epigraphic were repatriated to the Angkor Conservation stool tools for the manufacture of sculpture references to artists tend to single out Depot and identification of extensive amounts were also discovered. The ‘stone’ tools personalities of the administrative elite who of sandstone chips and additional unfinished included low-fired clay permeated with small were conferred ceremonial titles associated sculptures demarcated the site as a possible abrasive pebbles, probably used for ‘sanding’ with their control or leadership of these centre of sculpture manufacture. sculptures and small ‘river’ stones used for groups (see Cœdès 1951: 3 – 24). Those studies polishing. The stones possess ‘scratch wear’ which have addressed artists have by and Consisting of two large mounds either side consistent with being rubbed on sandstone. large focussed on bas-reliefs and architectural of the western axis road of the Bakong, two ornamentation, and then only on a handful associated ‘occupation mounds’, and a small A road cut through the centre of the southern of monuments. George Groslier (1921 – 1923: pond, excavation has confirmed that the site mound sometime in the early 20th century 206 – 208) studied the numerous pilasters of was indeed the location of an atelier sheltered provided the team with an opportunity to Angkor Wat, the Bayon and Banteay Chmar and concluded that more than one artist must have worked on the same object at any given time. At the Terrace of the Leper King, B.-P. Groslier (1969: 29 - 30) discerned artisans who roughly chiselled compositional layouts and more meticulous sculptors who rendered facial features and bodies.

Funded by the Australian Research Council, an international multi-disciplinary project led by the Angkor Research Program of The University of Sydney involved excavations conducted at the location of two sculpture ateliers in late 2011 and early 2012. The first workshop, located just west of the 9th century Bakong temple was a focus of artistic activity in the ’early’ Angkorian capital of Hariharālaya. French conservator Maurice Glaize originally discovered the site in 1943 during exploration of the outer Bakong enclosure when he identified two 2.4 metre tall rough-hewn and THIRTY-FIVE METRE SECTION AT BAKONG SCULPTURE WORKSHOP, ANGKOR. PHOTO: MARTIN POLKINGHORNE

TAASA REVIE W VOLUME 21 NO.3 7 SACRED DEPOSIT, LEAD ALLOY TURTLE REPLETE WITH

QUARTZ CRYSTALS, ANGKOR THOM SCULPTURE WORKSHOP,

’BELLOWS-TYPE’ STRUCTURE, ANGKOR THOM SCULPTURE WORKSHOP, ANGKOR. PHOTO: MARTIN POLKINGHORNE ANGKOR. PHOTO: MARTIN POLKINGHORNE

obtain a 35 metre cross section of the mound. sandstone sculpture. Excavation revealed flat waste bronze and lead may be ‘flashings’, This long trench exposed many layers of in-situ sandstone debitage, an unfinished metal that runs between the halves or valves working surfaces for sculpture production sculpture, iron and stone tools and additional of a piece mould. Small spherical fragments and the foundations of a building made of evidence of a bronze sculpture workshop. of iron slag found by wet sieving are possibly laterite aligned east-west with the western the result of primary smithing. axis of Bakong temple. The style of the The discovery of a bronze workshop just outside building ‘modenature’ is consistent with the walls of the Royal Palace of the Angkorian Droplets of solidified slag were produced mid-late 9th century constructions and kings is the first of its kind in Cambodia and during smithing as slag was expelled from iron the workshop appears to have been active Southeast Asia. One trench included a bellows- bloom during forging. Other forms of slag and during this period. The superstructure was type structure made from reused laterite and vitreous waste products were recovered from presumably built in wood and is attested sandstone blocks sealed with stucco and resin. numerous trenches. Different types of slag are by large quantities of elaborately decorated The bellows is unique in Khmer archaeology and the result of refining different metals using glazed stoneware roof tiles. Additionally, one presents a considerable interpretive challenge different techniques and are distinguished by of the most significant artefacts is a shard of because of its unusual form and composition. their colour, density, morphology and size. Chinese imported Tang Dynasty Xing white Conceivably it was activated with some kind Some trenches contained remains of investment ware dating to the mid-late 9th century, one of wooden device that moved a flexible animal moulds used in the process of making sculptures of only two pieces of this ceramic ware found skin up and down from the top of the stone with the ‘lost-wax’ method. Investment moulds at Angkor. The site is currently occupied courses to deliver pressurised air into the are black/grey on the inner surfaces which were by a small ‘traditional’ smithing workshop hearth or furnace chamber. Waste products and in contact with the cast metal, and orange/red suggesting a tantalising, but difficult to materials of metal production including bloom indicating oxidisation or firing on the outer substantiate link to the Angkorian craft of waste, sprues, vents, a crucible, tree resin, and surface. Consistent with the production process sculpture making and tool maintenance that clay moulds in conjunction with unfinished where moulds are broken open to recover logically occurred at the site. sandstone sculpture and chip debitage suggests the casting, identification of the objects is not that allied arts were working side-by-side. possible. Excavated tree resins could possibly The second excavation phase of the project be added to bees’ wax as a material for making focussed on an Angkorian period atelier in Considerable amounts of small bronze, iron the ‘lost-wax’ mould, as a ‘flux’ to decrease the the heart of King Jayavarman VII’s great and lead fragments, and slag are logically temperature required to melt metal, or as a walled city of Angkor Thom. Conservator waste products of a metal workshop. Some temporary adhesive to affix different elements Henri Marchal speculated about the area as pieces can be plausibly related to specific of sculptures during the crafting process, or as a workshop as early as the 1920s (Marchal aspects of the sculpture making process. an agent in foil gilding. 1926: 310). Discovery of a workshop for For example small cylindrical iron pins are lead roof tiles (Pottier 1997) and unfinished arguably fixtures or ‘chaplets’ that held the The project has identified large quantities of sandstone sculpture provide further evidence clay core and outer mould apart during earthenware and glazed stoneware ceramics that the site was the centre of artistic casting. Some Angkorian bronze images are from local and international kilns. The site was production. The workshop is located on an created with wrought iron armature and it the location of concentrated activity continuing area of approximately 1000m2 between four is understandable that much iron has been in some form to a least the 16th century. monuments: Preah Palilay, Tep Prenam, the found in the test trenches. Small and narrow Quantities of imported trade-ware from Royal Terraces and the Royal Palace. The cylindrical rods of bronze can be interpreted Thailand, Vietnam, possibly Myanmar, and entire site is scattered with small sandstone as sprues or runners to intake/outtake molten especially China suggest a cosmopolitan society chips believed to be the result of carving metal to/from the mould. Some short and with sizeable interests in international trade.

8 TAASA REVIE W VOLUME 21 NO.3 UNFINISHED SANDSTONE SCULPTURE OF STANDING FOUR-ARMED VISHNU (HEADLESS, FACE DOWN), ANGKOR THOM SCULPTURE WORKSHOP, ANGKOR. PHOTO: MARTIN POLKINGHORNE

Notable ceramic artefacts can be identified Kurma is commonly illustrated in Angkorian the existence of additional peripheral artistic as Song dynasty ‘mercury jars’. The iconography as the ‘pivot’ in the famous centres or temporary workshops. The presence of ‘mercury jars’ in the context of ‘Churning of the Sea of Milk’ story, masterfully presence of large infrastructure, elaborate metal working and bronze manufacture is and strikingly depicted in bas-relief at the buildings, considerable production waste, particularly significant as mercury was used southeast gallery of Angkor Wat. Interestingly, rare imported ceramics, extraordinary ritual in a specialised form of sculpture gilding. five unfinished sandstone sculptures at the deposits, and proximity to palace compounds Mercury gilding is the process whereby Angkor Thom site can be identified as four- suggest that these workshops were of great mercury is mixed with gold to make an armed standing Vishnus, suggesting a possible importance to the kings of Angkor who amalgam that is applied to the surface of the religious designation for the workshop. The devoted considerable resources and religious sculpture. The sculpture is then heated and second ‘foundation deposit’ was a vessel of investment in images of the Gods. the mercury evaporates and leaves behind a unidentified composition (likely some kind thin coating of gold gilding. of alloy covered in resin) full of the remains Dr Martin Polkinghorne is an Australian Research of rice and sesame seeds. The deposit has not Council Postdoctoral Fellow and Director of The To make sculpture smooth, burnishing been fully opened. Considerable additional University of Sydney Robert Christie Research Centre is typically required where the sculpture documentary and analytical work is required in Siem Reap. The author wishes to acknowledge surface is rubbed with a hard implement or as a result of this excavation. Stone, metal and funding from the Australian Research Council and a very smooth stone. Burnishing shapes and other artefacts sampled from the excavation the generous collaboration of The Authority for the compacts the metal grains, increasing the will undergo further analysis in the laboratories Protection and Management of Angkor and the Region reflectivity of the sculpture. It is possible that of project collaborators. of Siem Reap (APSARA), the Freer/Sackler Galleries of the stone and smoothed ceramic tools found Asian Art, l’École Française d’Extrême-Orient (EFEO), during this excavation were used for the When looking at the celebrated corpus and excavation volunteers and participants. purpose of burnishing. of Angkorian art, custodians, visitors and scholars consistently ask the same REFERENCES The Angkor Thom workshop yielded two question: how were these works created? Cœdès, G. 1951. Inscriptions du Cambodge III. EFEO, Paris. special artefacts in the form of ‘foundation Until now the answer is very partial. This Groslier, B.-P. 1969. “Angkor. The Terrace of the Leper King”, Nokor Khmer 1: 18 – 33. deposits’. Underneath the northern stone project, the first study of workshop sites in coursing of the ‘bellows’, a lead turtle Southeast Asia is beginning to connect the Groslier, G. 1921 – 1923. Étude sur la psychologie de l’artisan Cambodgien. Arts et archéologie khmers; revue des recherches sur approximately 20cm in length was retrieved. sculptural masterpieces of Khmer culture les arts, les monuments et l’ethnographie du Cambodge, depuis les Inside the turtle were over 85 crystals to the processes and social context of their origines jusqu’à nos jours 1(2): 205 – 220. appearing to be quartz. The turtle was likely a manufacture. In addition to elaborating on Marchal, H. 1926. “ Notes sur le Palais Royal d’Angkor Thom” , ritual deposit and acted to sanctify the objects the qualities and elements of the Angkorian in Arts et archéologie khmers; revue des recherches sur les arts, les made using the ‘bellows’. This and analogous iconographic repertoire, the focus is on the monuments et l’ethnographie du Cambodge, depuis les origines ritual deposits found in the south library of actions of the “anonymous” medieval Khmer jusqu’à nos jours 2(3): 303 – 328. the Bayon and at the Terrace of Leper King people who created its magnificent art. Pottier, C. 1997. “ Nouvelles données sur les couvertures en plomb can perhaps be associated with Kurma, the Although the excavated workshops indicate à Angkor ”, BEFEO 84, pp. 181 – 220. turtle avatar of Vishnu. centralised production, they do not preclude

TAASA REVIE W VOLUME 21 NO.3 9 F r o M C A ME l G i r t H t o C O N T EMP o r a r Y G O WN: P LY–SP l i t a r t i S t E r r o l l P i r ES

Carole Douglas

Never an idle digit: Erroll Pires in NID office. Image courtesy © NID 2011

n my first trip to Kachchh in northwestern O India, well before the earthquake and any real knowledge on my part of traditional forms of weaving, I stopped the car in which I was travelling between Bhuj and Mandvi. A sudden flash of black and white movement in a small blue concrete shelter caught my eye: I recently came across the transparency that holds this memory. I did not know it then, but I had captured a rare image of an elderly Marwar Megwhal weaver creating a ply– split camel girth, locally called tang, using desi (local raw) wool and goat hair. And as it transpires in the interconnectedness of life, I later learned that he is an uncle of Kharad weaver Tejsi Dhana with whom I have worked for several years and who himself is rapidly becoming a master of ply–split braiding – an ancient and traditional technique that uses what lay over the wall. Later, when he made him to maintain a sense of calm. hand-spun fibres to create camel girths and a few visits inside the walls with a friend’s other animal regalia. Practiced mainly in father who worked in the weaving section, In September 2011, on the eve of his retirement northwestern India, ply–split involves one he was exposed to mass production, to noisy and with the encouragement of a dear friend, twisted cord being passed through another looms and to great volumes of woven cloth. Erroll’s collection was liberated from his office twisted cord or cords, splitting the plies of and put on public display in the exhibition the latter cords. Designs are formed by the In 1970 Erroll enrolled at NID on the ‘Ply–Split Braiding and Beyond’. Dedicated to colours of the cord and the order of splitting. suggestion of a family friend. A passionate his mother, the works are an expression of life believer in woman as the original creator, and a source of wonder. From camel girths, to In 2004 I came across camel girths in a Erroll’s curt response to being asked his crazy wigs, to his signature ‘containers of joy’ different incarnation when I met Erroll father’s occupation during the admission and his renowned seamless gowns it was the Pires, contemporary ply–split braider and process was ‘Why don’t you ask what my public’s first opportunity to see the entirety of coordinator of textiles at the National Institute mother does?’ He graduated in 1975 and, after one person’s output and the outside world’s for Design (NID) in Ahmedabad. Erroll’s office a nine-year gap when he worked in the textile first glimpse of what is destined to become overflowed with a profusion of yarns braided and leather garments industry, he returned to the largest piece of ply-split braiding ever into extraordinary forms – living testament NID restless to engage in research. When one created – a braided vessel large enough for the to a life dedicated to a single art form and its of his colleagues suggested he look closely at artist himself to climb into. While sheep and endless possibilities. A few well–worn camel a particular piece in NID’s textile collection it goat fibres are the traditional materials, Erroll girths hung in amongst the chaos of creativity; marked the beginning of his long journey in uses a variety of threads, some of which he their presence a powerful link between the quest of camel girths. tie dyes, including cotton, silk and linen. He contemporary and the traditional and a quiet continually experiments with the technique acknowledgement of the inspiration behind Meetings are never by chance. His mother’s and combines tradition and modernity to Erroll’s work. I watched fascinated as the long untimely death prompted him to go to the create unique works that adorn, clothe and thumbnails that give him such control over his desert to deal with his grief and in Jaisalmer decorate. His latest works, the only seamless work deftly manipulated multiple threads. I he met his guru, ply–split master Shri braided garments in existence, reflect his sensed his meditative state and realised I was Ishwar Singh Bhatti. Erroll attributes his favourite quote taken from the late Peter watching the finely honed skills of a master in healing process to the techniques of ply– Collingwood: ‘The simple appears only after his own right. split braiding and to the moment when ‘… I the complex has been exhausted’. interlaced my mind and soul into a passion Born on 1 December 1951 and the middle for beautiful braids’. Erroll’s life’s work was ‘And’ I ask him ‘why the switch from Errol to of five children, Erroll Pires was destined to born. For several years over several visits, Errolsan to Erroll?’ He explains that he was work with yarns. His first textile memories he studied with his guru, Shri Ishwar Singh, named after the actor Errol Flynn, Errolsan are of his mother knitting woollen sweaters who instilled in his young student’s mind was gifted to him by the well-known Japanese for the family, his already long arms assisting the absolute prerequisite for mastery – daily weaver Junichi Arai and Erroll is the post her to open the hanks of wool quickly. He practice. Since then there has rarely been a retirement version. In Indian cricket language sometimes wonders if that early contact day when Erroll does not follow the master’s this is known as one’s ‘second innings’, hence ‘wove’ the fibres inextricably into his system. path. Even on the day of the 2001earthquake the double L. With wry humour Erroll also The family also lived beside a textile mill and that rocked Ahmedabad, the set of cotton points out that the double L could refer to his Erroll would climb the tallest neem tree to see cords with which he was practicing helped long walking legs!

10 TAASA REVIE W VOLUME 21 NO.3 Seamless gown, natural fibres in natural setting. Image courtesy © Erroll Pires Pot of Joy, cotton thread with wooden ‘beads’. Image courtesy © Erroll Pires

Now retired, Erroll Pires with ‘all the time international braiding conference and Camel girths will no doubt have a major voice in the world’, is working in his Ahmedabad Australia is a long held dream, spending more in the museum’s narrative. studio on his ‘ibraid design’ with single time with his camera, offering workshops, and khadi threads twisted into cords for ply–split he toys with the idea of writing a book. Erroll TAASA member Carole Douglas, exhibiting artist braiding incorporating denim waste yarn, is currently setting up his ‘Cameluseum’ for and writer, has an almost 20 year history of travel plentiful in Ahmedabad and in accord with everything relating to camels, an animal he to India where she works on special projects with his ‘no waste’ philosophy. His future plans finds fascinating and the basis of his nick traditional artisans and leads regular tours. See: involve more travel – he is representing name at school – ‘unth’ – which obviously www.desert-traditions.com and Carole’s blog at: Gujarat in Manchester at Braids 2012, the 2nd relates to his great height and unhurried gait. http://desert-traditions.blogspot.com/

TAASA REVIE W VOLUME 21 NO.3 11 A C T S o F d EV o t i o N - B a l i NESE M A N d a l a S Talismanic cloth (pengider), I K. Marshana, 1993, Bali, Indonesia, polyester cotton and black pigment, 93.0 x 93.5 cm; Gift of Michael Abbott AO QC through the Joanna Barrkman Art Gallery of South Australia Foundation 2011. Donated through the Australian Government's Cultural Gifts Program, Art Gallery of South Australia

rt remains an integral part of religious spirits. These low, demonic spirits, called leyak A practice and ritual in Bali. Creative and bhuta kala are constantly present, awaiting production in Bali is often underpinned by to strike and cause disorder. The word bhuta, a devotional quality. Hinduism has been a Sanskrit term, signifies the gross elements influential in Bali since the first century CE and of the body, whilst the term kala is ‘time’ and was later reinforced through the establishment also ‘fate’ (Eiseman, 1990:227). It is believed of a Hindu colony by the Javanese Majapahit that such spirits particularly like to dwell at Kingdom during the 14th century. Balinese intersections and at entrances. To prevent Hinduism however is a unique amalgamation of such unwanted spirits entering household mainstream Hinduism with pre-existing animist compounds, a ‘double entry’ doorway is often beliefs and consequently, recitation of Vedic used in Bali designed to prevent kala, who scriptures and veneration of Hindu Gods are cannot see or turn sideways, from entering. practiced alongside Balinese ancestor worship. Bhoma (depicted as a face with bulging eyes) are also strategically located in rafters and Balinese culture venerates ancestors, gods above entrances to deflect bad spirits from of the betel leaf) is associated with Vishnu and demons with offerings of art and material entering compounds and temples. From a and lime is white, the colour associated with culture in the form of paintings, carvings, Balinese perspective, bhuta kala represent the Shiva. Once pounded, this paste is placed in performances, literature, poetry, gamelan dark side of existence, both on the macro offerings or alternatively, the nut and lime is music and shadow theatre demonstrating an universal level and micro individual level. wrapped within the betel leaf before being abiding awareness of the unseen upper and placed onto the offering (Eiseman 1990:217) lower worlds. The macro universe (Buana Agung) and the micro universe (Buana Alit) are encapsulated Each of the five petals on the mortar is incised One of the most distinctive features of Bali in Balinese devotional art in a cosmic mandala with Balinese calligraphy, askara, attributed is the daily activity of making devotional design which is layered in symbolism. In to the four Gods of the cardinal points - offerings. Women deftly cut, fold and plait its most complex form it is called the nawa Vishnu (north); Brahma (south) Iswara (east) hand-cut coconut, sugar or lontar palm fronds sanga mandala (nawa and sanga refer to the and Mahadewa (west). The fifth character is which they then intricately fasten together number 9 in Sanskrit language and Javanese Shiva the most revered Hindu deity in Bali. with small bamboo pins. At their most basic language respectively). The mandala depicts It is unusual to relegate Shiva to one of the these small woven offerings are embellished each god and their dominion over their five petals, however, the functional cavity with flowers, cooked rice and sticks of smoking respective cardinal point. The gods are also into which the pestle enters and grinds forms incense. Strikingly beautiful and ephemeral, attributed with specific weapons, sacred the central point for this object. The ancestral the devotion inherent in their preparation mantra, colours and days of the week. It form carved into the pestle handle neatly underpins their significance and function. is believed that significant temple sites demonstrates both the inter-changeability Known as canang or banten these small offerings across Bali are a macro interpretation of the and co-existence of Hindu and animist belief are visible every day across the island of Bali mandala, aligned geographically to the eight systems in Bali. where they are freshly made daily. directional points. In the microcosmic form, the mandala is applied to the human body A more complex eight-pointed cosmic The word banten is derived from the word with each directional point (and therefore mandala is evident in the ulap, a simple enten, which means ‘to wake up; to be god) corresponding with a specific human cloth commonly hung from buildings and conscious’. In making and offering banten organ, with the exception of Shiva who has no entrances. These ubiquitous cloths are hung as the Balinese people remain conscious of and attributed location in the human body. a devotional practice and invite the presence devoted to the pantheon of gods and demons of and protection from the gods inside that they believe guide their lives. A variation of the cosmic mandala is dwellings, be they residences, businesses or obvious in the ceremonial mortar and pestle temples. Ulap are hand-drawn with ink on The devotional practices of the Balinese have illustrated in this article, carved from volcanic cotton cloth; before they are drawn priests evolved from a belief in the existence of rock from Karangasem Regency in East Bali, chant mantras to ensure that they are imbued three worlds: the upper worlds of the gods which features a five-pointed star. It was used, with protective qualities. Ulap are left to (swah), the middle world of humans (bwah) possibly in a temple context, to masticate the disintegrate over time and although their and the lower world beneath the earth (bhur). three essential ‘betel’ ingredients that are physical form is ephemeral they retain the Within the context of the three worlds, banten routinely placed in offerings to the Gods. A power invested in them by their creator. offerings are made in the middle world – that sliver of betel nut (areca), some lime powder is the world that humans inhabit - and are and betel leaf are pounded together for This pengider, or talismanic cloth, is a complex given to please both the Gods of the upper the purpose of chewing; their ceremonial and contemporary depiction of the cosmic world and the demons of the lower world. significance is also aligned to the three Hindu mandala. Finely hand drawn, in a style which Gods – Brahma, Vishnu and Shiva. Red is the features traditional Balinese iconography Offerings known as charu or segehan, are made colour of Brahma (the colour of areca nut); and elements of European realism, it depicts with the aim of feeding or deflecting the low black (in this instance dark green, the colour the pantheon of Hindu gods each in his

12 TAASA REVIE W VOLUME 21 NO.3 Mortar and pestle, date unknown, Karangasem, Bali, Indonesia, 150 (h) x 141mm (w), Museum and Art Gallery

Northern Territory collection, SEA 03691.01 & .02. GARUDA ATTACKED BY THE GODS OF THE DIRECTIONS, I NYOMAN DOGOL (1876 – 1965), KLUNGKUNG, BALI, INDONESIA, C. 1920, Photograph by Regis Martin PIGMENT ON COTTON, 1700 (H) X1290MM (W), AUSTRALIAN MUSEUM COLLECTION. PHOTOGRAPH BY EMMA FURNO

directional location. An elegant Sanskrit and Balinese askara inscription on this cloth identifies it as having been used as part of a Tawur Agung Panca Bali Krama ceremony that occurs every decade as part of the centennial ceremonial cycle Eka Desa Rudra which occurs at Besakih, mother temple of Bali on the sacred Mount Agung in northeast Bali. (Bennett, J. 2011: 54-55)

The pengider was used in a ritual aimed at purifying the world from disturbing influences and ensuring cosmic harmony. This includes blood sacrifices intended for the bhuta kala, part of a series of ceremonies that aim to maintain balance between the forces of light and dark. The notion of cosmic equilibrium and protection is conveyed in the mandala, drawn in the form of an eight-petal padma, or lotus, at whose centre appears Shiva and the ancient Indian swastika symbol. The auspicious swastika represents the energy of the universe, which rotates clockwise in the Hindu tradition (Bennett, J. 2011: 54-55). to his great power, is located in the central in Balinese art serves as a reminder of the Works such as this ceiling painting entitled position usually reserved for the god Shiva. continuous presence of the gods in the Garuda is attacked by the Gods of Eight Directions The weapons of the Gods used to attack macrocosmic (Buana Agung) and microcosmic are further evidence of the use of the sacred the Garuda are each associated with one of (Buana Alit) worlds, for whom devotional mandala in artistic production to reinforce the eight compass points and are therefore practices occur several times daily. awareness of the ever-present gods. This indicative of each god from that direction. A painting was collected from the ancestor temple vajra belongs to Iswara, the god of the east, Joanna Barrkman is Senior Technical Advisor for Pura Dadia in Kamasan village, Klungkung dupa (incense) belongs to Mahesora of the Cultural Heritage Projects, Timor Aid, Timor-Leste. Regency by Australian anthropologist, Anthony southeast, Brahama wields a danda (staff) in Forge in 1972-3. It is based on the Apidawa, the south and so on. This painting features REFERENCES the Hindu creation story that is a prologue for many naga pasa (arrows), the weapon of Bennett, J. 2011. Beneath the winds: Masterpieces of Southeast Asian art from the Art Gallery of South Australia, Thames and Hudson. the great Hindu epic, the Mahabharata. In the Mahadewa, the god of the west. Naga pasa Eiseman, F.B. Jr. 1990. Bali Sekala and Niskala, Periplus Editions Apidawa story Garuda stole the tirta amerta are particularly useful as they are able to alter Ltd, Hong Kong (2005 edition). (water of immortality) from the gods to rescue their direction in mid-flight. his mother from bondage, evoking the wrath of the gods who attacked him. Imagery based on nawa sanga mandala is enshrined in the Balinese creative repertoire, In this temple painting the Garuda, who from simple banten offerings to sophisticated survived the forceful attack of the gods due temple paintings. The use of such mandalas

TAASA REVIE W VOLUME 21 NO.3 13 BU d d H I S t t r E A SU R ES i N M O NG o l i a

GUHYASADHANA HAYAGRIVA, T.Tsend (dates unknown), Jackie Menzies 1800s, patchwork of silks with gold couching and embroidery; 283.5 x 202 cm. Zanabazar Fine Arts Museum, Ulaanbaatar. Photo: Felicity Jenkins

ithin the collections of the museums father, a leader of the Khalkha tribe, who were W and temples of Ulaanbaatar, capital concerned at the growing power of the Dalai of the People’s Republic of Mongolia, are Lamas of Tibet over Mongolian affairs. splendid Buddhist paintings, sculptures and textiles that testify to a powerful and wealthy From the 1200s when the Mongols had first tradition, despite so much being destroyed invaded Tibet and adopted Tibetan Buddhism, in the extensive sackings of monasteries and it had been Tibetan lamas who were the spiritual temples during the Communist repression leaders of Mongolia, but the Mongolians of Buddhism during the 1930s. The Buddhist increasingly desired a Mongolian as their art extant today provides tantalising insights spiritual leader. Hence at the youthful age of into the complex interrelationships between five, Zanabazar was selected as holder of the the khans (territorial chieftains) of Mongolia, new title of Living Buddha (Mongolian: Bogd the Dalai Lamas of Tibet, and the Manchu Gegen; Tibetan: Jebtsundamba Khutukhtu). emperors of Qing China (1644-1912). The art Once he had achieved this recognition, he demonstrates a Mongolian nuanced extension went to Tibet in 1649 to study with the Gelug of the iconography and styles of Tibetan school of Tibetan Buddhism where he met Buddhism, particularly that of the Gelug the Fifth Dalai Lama (1617–82), an influential school, the largest of the four main Tibetan leader across the Buddhist realms within Tibet, schools of Buddhism, and the one to which Mongolia and Qing China. the Dalai Lamas belong. This article looks of the rows of petals is a feature unique to briefly at three of the great artistic traditions of It was in Tibet that Zanabazar undoubtedly Zanabazar sculptures. The elegant fluidity of Mongolian Buddhist art, namely gilt bronzes, learnt his sculptural skills as well. Some of the lithe body is indebted to the style created thangkas and silk appliqués. the most sublimely elegant and graceful by the Nepalese master Aniko (1245-1306) gilt bronze images of Vajrayana Buddhism who had established workshops in Beijing at One of the great figures of Mongolian are attributed to him or his workshop. the invitation of Kublai Khan, Mongol leader Buddhism, politically and artistically, was Illustrated is one from his famous set of the of the Chinese Yuan dynasty (1279-1368), and Zanabazar (1636-1723), an extraordinary Five Transcendent Buddhas, Vairochana, who initiated a new style adopted by craftsmen genius admired not only for his talent as a usually holds centre place in any grouping of with Mongol patrons. The softly glowing matt sculptor but for his erudition, his writings, the Five Buddhas. This superlative image of surface is a distinctive feature of Mongolian and for his invention of a new Mongolian Vairochana, seated in the diamond posture, Buddhist bronzes. Many of Zanabazar’s script known as soyombo, which was designed holds his hands in the vajra or gesture sculptures are on display in the Choijin Lama to transliterate Tibetan terms and names into specific to him in which the index finger of Temple Museum, erected between 1904 and Mongolian. Politically he is famous as the first his left hand is clasped by his right hand, 1908 in honour of the Eighth Bogd Gegen. Mongolian to head the Buddhist establishment signifying the unity of all things in the context in Mongolia, in a position newly created at of ultimate reality. The deity, richly bejewelled, The time when Zanbazar lived coincided with the urging of various khans, including his sits on a double lotus base where the handling the growing power of the Manchus, whose

OFFERINGS OF THE FIVE GEMS, Artist unknown, 1900s, thangka, mineral pigments on cloth, 108 x 250 cm. Zanabazar Fine Arts Museum, Ulaanbaatar. Photo: Felicity Jenkins

14 TAASA REVIE W VOLUME 21 NO.3 VAIROCHANA, gilt bronze, 1636-1723, , ht 71.5 cm . Zanabazar Fine Arts Museum, Ulaanbaatar. Photo: Felicity Jenkins power extended indirectly through Buddhism wrathful Tantric deity, into territories other than the Chinese ones who was very popular they had conquered. In 1691, following attacks in Mongolia where he on the Khalkha Mongols by the Zunghar was conflated with local Mongols further west, Zanabazar surrendered horse gods. This image Khalkha territory to the Manchus in exchange follows precisely the for protection from the Zunghars. Thus began iconography for the the long period of Manchu domination of mystic, incantation form Mongolia, one not entirely antagonistic, for of the deity presented the Qing emperors were devout followers of in the Three Hundred Tibetan Buddhism, and as early in their reign Icons, a Tibetan-language as 1652 had invited the fifth Dalai Lama to xylograph printed in Beijing, recognising that he was their most Beijing in the Qianlong powerful ally in cementing their control over period (1736-95) and both Tibet and Mongolia. widely disseminated throughout Mongolia Zanabazar became closely associated with (Berger &Bartholomew the Kangxi Emperor (r. 1661–1722), becoming 1995: 234). He has six his teacher, or guru, from 1691 until the arms, most of his hands latter’s death. Proof of Manchu power within carry weapons, except Mongolia was that the Manchu emperors, in for his upper left hand consultation with the Dalai Lamas, became with which he makes the responsible for the appointment of the karana mudra to exorcize Bogd Gegen, from the Third through to the demons. His eight feet Eighth Bogd Gegen (1870-1924), after whose trample writhing demons death the Mongolian People’s Republic was of different colours. Each established. The only Bogd Gegens who were of Hayagriva’s three Mongols were the first and second; the rest heads has three glaring were Tibetans. eyes, a gaping mouth of sharp fangs, and a crown Parallel to Zanabazar’s adoption from Tibet of of skulls surmounted by the traditions of gilt bronze Buddhist images, a horse’s head against a was the Mongolian adoption of the Tibetan backdrop of his flaming tradition of thangka painting. Thangkas are red hair. He wears a tiger religious pictures/images, often gouache on skin around his waist, cotton, framed with vibrantly coloured silk while his red body is accessorised with white chakravartin, or universal monarch. Depicted bands, and usually with a protective veil so scarves tipped with wish-fulfilling jewels and here from left to right, are the wheel (chakra), the picture is not damaged when rolled up a garland of severed heads. the precious jewel or wish-granting gem for storage and transport. Most surviving (in Sanskrit chintamani), the white elephant, thangkas in Mongolia date from the late 19th From the 1800s, more innovative paintings the precious horse, and the general. The century. Invariably the subject comes from appear in the Buddhist repertoire, such as the whole painting is imbued with a lightness the extensive repertoire of the Vajrayana Offerings of the Five Gems thangka housed in and joy that foreshadows new directions in Buddhism synonymous with Tibet in a style the Fine Arts Museum in Ulaanbaatar. Five Mongolian art. related to that of Central Tibetan painting. lively dakini, goddesses who rhythmically ‘dance in the sky’ amongst auspicious, lush Jackie Menzies, Head Curator of Asian Art at the Art The tradition of luxury textiles, whether flowers, personify the ‘offerings of the five Gallery of New South Wales, has been researching woven, embroidered or appliqué, has been senses’ (Skt pancha-kamaguna). The left figure Mongolian Buddhist art for a proposed exhibition. strong amongst the peoples of Tibet, Central is sight: her insignia is a mirror, representing Asia and China. These were long used to consciousness. The lute held by the next figure REFERENCES Berger, Patricia. 1994. ‘Preserving the nation: the political uses of create religious images that had greater represents the sense of sound. The conch shell Tantric art in China’, pp 89–123 in Marsha Weidner et al. (ed). prestige than their painted counterparts, and full of perfume, held by the central figure, Latter days of the law, images of Chinese Buddhism 850–1850, were commissioned by lamas and royalty represents the faculty of smell. Second from Spencer Museum of Art, The University of Kansas & Honolulu, to impress and accrue religious merit. The the right, the figure holds a bowl of fresh fruit University of Hawaii Press Chinese emperors presented the high lamas in her left hand, representing the sense of taste, Berger, Patricia & Terese Tse Bartholomew. 1995. Mongolia, and princes of Mongolia with bolts of silk and while the dakini on the far right, enjoying the the legacy of Chinggis Khan, London & New York, Thames and Hudson, in association with the Asian Art Museum of San Francisco brocade that were used to clothe lamas and tactile sensuality of the silk scarves swirling deities, and make canopies and appliqués, around her, represents touch. Powers, John. 1995. Introduction to Tibetan Buddhism, Snow Lion Publications, New York a uniquely Mongolian feature being the Rossabi, Morris. 1975. China and Inner Asia, from 1368 to the addition of gems such as coral, pearls and Although the viewer’s eye is drawn to present day, Thames and Hudson, London turquoise (Berger &Bartholomew 1995: 84). the graceful figures, the actual topic of the Tsultem, N. 1986. Development of the Mongolian National Style painting relates to the frieze of smaller figures Painting ,Mongol Zurag’ in brief, State Publishing House, Ulan-bator. Illustrated is a large patchwork silk appliqué along the bottom. These are five of the seven depicting Hayagriva, the Horse-Necked precious jewels that appear at the birth of a

TAASA REVIE W VOLUME 21 NO.3 15 DIVINE WORLDS: INDIAN PAINTING AT THE NGA

Melanie Eastburn

n September 2012, the National Gallery On display for the first time is the magnificent metres in height and depicts Shatrunjaya. Like I of Australia (NGA) will present Divine Krishna’s divine play (Krishna lila) for the annual the Krishna lila, these detailed paintings allow worlds, an exhibition of Indian painting pilgrimage of Vraja (Vraja yatra). In the form the devout to accrue merit equivalent to that from the Gallery’s diverse collection. The of a map, the pichhavai depicts important gained by travelling the pilgrimage path. There exhibition includes paintings from the Jain, moments from Krishna’s life. At different are a number of Jain paintings in the exhibition Hindu, Islamic and Sikh traditions of India, points on the image, through which winds the including the earliest paintings in the show, ranging from intricate manuscript pages and Yamuna River, Krishna is shown as an infant, manuscript pages from around 1465. painted photographs to hunting scenes and a playful child, a flirtatious young man and devotional images on a grand scale. a protective hero. Krishna’s famous lifting of Rendered in splendid detail, Maharana Jawan Mount Govardhan to shelter villagers and Singh hunting is a spectacularly large painting Half of the exhibition is devoted to the cattle from the torrents sent by an enraged on cloth, probably created to adorn a palace Gallery’s collection of 19th and 20th century Indra is among the events represented. or tent. In contrast to pilgrimage images, it pichhavai painted cotton shrine hangings. shows the Rajput ruler Maharana Jawan Singh Made in devotion to the Hindu god Krishna, The places mapped are important pilgrimage and his party at various stages of a hunting an avatar of Vishnu, pichhavai are displayed as destinations in central India’s Vraja region for expedition in the countryside surrounding backdrops for temple shrines to commemorate the Pushti Marg (Path of grace) or Vallabha Udaipur, the capital of the Mewar kingdom. seasonal festivals and events from the life of sect of Hinduism. Such paintings are displayed Hunting was a popular pastime of India’s Krishna. Included in the show are pichhavai during the annual Vraja pilgrimage festival. rulers and representations of pursuits form associated with the Autumn Moon (Sharad Devotees unable to travel can attain religious a significant genre in Indian court art. The purnima) celebrations, the Festival of Nanda merit by viewing the images and taking a Rajput and Mughal courts included ateliers of (Nanda mahotsava) and the Mountain of Food mental rather than physical journey. (For a full painters, part of whose role was to document festival (Annakuta utsava). account of this painting see Lucie Folan’s article the exploits of rulers, and thereby their power in TAASA Review volume 16, no.4, December and importance. The Gallery’s pichhavai for the Festival of the 2007). Krishna’s divine play (Krishna lila) is one Cattle (Gopashtami) is particularly delightful. It of four map-like paintings in the Divine worlds Jawan Singh, who can be identified by shows blue-skinned Krishna standing on a lotus exhibition. There are also two Jain pilgrimage his golden halo, ruled Mewar from 1828 and surrounded by cows charmed by his flute paintings (tirtha pata) and a Rajput landscape until 1838. He appears nine times in the playing. The sweet-faced cattle wear headdresses image depicting a regal hunt. picture in which successive events are of peacock feathers and garlands around their illustrated simultaneously, and from necks. Towards the base of the image tiny calves Jainism began in India in the 6th century BCE various perspectives and viewpoints. The can be seen suckling. Above, six pairs of gods (at much the same time as Buddhism) and presentation of multiple moments in time in a and goddesses watch from celestial vehicles. teaches non-violence in thought and action single painting was a commonly used device Among the couples are Shiva and Parvati (Uma) (ahimsa). Adherents revere 24 enlightened in Indian painting. Proceedings depicted in with the bull Nandi, Indra and Indrani with the beings or Jinas. One of the Jain maps is an this image include: a visit to a village in which divine white elephant Airavata, and four-headed early 19th century temple wall panel showing an antelope is sacrificed before the Maharana Brahma with Sarasvati (or Brahmini) and Hamsa the sacred locations where two Jinas achieved who is seated beneath a tree; scenes of the the goose. The Festival of the Cattle takes place enlightenment – the temple complex of lively encampment; the king’s visit to a Hindu in autumn and marks Krishna’s graduation from Shatrunjaya and Mount Girnar. The other tirtha temple; a ceremonial gathering (darbar) in a boy calf herder to grown cowherd (gopa). pata, painted on cloth in 1897–98, is over 3.5 red tent just above the centre of the painting,

THE MONK KALAKA WITH THE GOD INDRA, PAGE FROM A JAIN MANUSCRIPT, LATE 15TH CENTURY, INDIA.

PAINT, INK AND GOLD ON PAPER. COLLECTION OF THE NATIONAL GALLERY OF AUSTRALIA, 1994

16 TAASA REVIE W VOLUME 21 NO.3 MAP OF JAIN SACRED SITE SHATRUNJAYA, PILGRIMAGE

PAINTING (TIRTHA PATA), 1897–98, INDIA. OPAQUE WATERCOLOUR. THE EMPEROR MUHAMMAD SHAH HUNTING, C.1730, INDIA. NATURAL PIGMENTS, GOLD, 26.8 X 39.8 CM.

COLLECTION OF THE NATIONAL GALLERY OF AUSTRALIA, 2005 COLLECTION OF THE NATIONAL GALLERY OF AUSTRALIA, PURCHASED 1992

and antelope hunting. Monumental paintings the arts, especially manuscript painting. He of Australia held the gift until its transfer on cloth began to be commissioned by Mewar was also a savvy strategist who invested in to the Gallery in 1991. Comprising over 200 rulers during the reign of Maharana Sangram forming alliances with India’s existing rulers paintings and drawings, the works are of Singh II (r. 1710–34) approximately 100 years to increase the empire’s power. varied quality but include some marvellous before this painting was made. pictures. Among them are lively souvenir A later Mughal work in Divine worlds is a images made for visitors to the Kalighat A considerably smaller image from about 1720 fascinating composition showing the Emperor temple of Kali, the Hindu goddess of time and records Sangram Singh II himself hunting Muhammad Shah hunting with falcons change, in the second half of the 19th century. boar in the dust pink desert of the Udaipur (1720–30). Dramatically divided by the central Unfashionable in the 1950s but now much summer. Its landscape is in marked contrast zigzagging river, the painting shows on one appreciated and enjoyed, Kalighat paintings to the verdant setting in which Jawan Singh’s side three members of the Emperor’s hunting of Kali, Shiva, Ganesha, the baby Krishna and adventure takes place. The reign of Sangram party and on the other, hiding amongst the other Hindu deities are displayed in Divine Singh coincided with one of the last stable trees, five women whose musical gathering worlds. Also from the Gayer-Anderson gift is periods in Mewar history. The Hindu Rajputs, has been disturbed by the emperor’s arrival. a curious portrait of Guru Nanak (1469–1539), whose name translates to Sons of Kings, have Muhammad Shah, shown with a blue horse, the founder of the monotheistic Sikh religion, had a strong presence in north-western India ruled India from 1719 until his death in 1748. dressed in a magnificent patchwork robe. since the 9th century. With a reputation as Hunting with falcons, the Emperor’s right A selection of miniatures from the Gayer- fierce warriors, the Rajputs were one of the hand is appropriately gloved, as is that of one Anderson collection was shown in the 1999 few groups to retain their independence and of his attendants. All three men are dressed travelling exhibition A stream of stories. increase prosperity in the face of regular Muslim in hunting green, a shade that dominates the invasions. They held on to their autonomy for picture. The parasol, flags and trumpets of the Divine worlds is the first exhibition dedicated almost a century following the establishment imperial entourage accompanying the hunt to the National Gallery of Australia’s broad of the Mughal Empire in 1526, finally joining can been seen in the distance under the dark collection of Indian paintings – from the minute forces in 1615 rather than be subsumed. sky. Known as rangila ‘the pleasure lover’, to the massive. Rich in range, style and joyous Muhammad Shah was a supporter of the arts imagery, Divine worlds can be seen at the NGA While there are very few Mughal paintings and oversaw a resurgence in support for court from 1 September until 11 November 2012. in the Gallery’s collection, there is a fine page painting which had suffered in the wake of the from a manuscript of the Baburnama or Book dissolution of the imperial atelier under the Melanie Eastburn is Curator of Asian art at the of Babur (c.1590). Painted by Bishan Das (c. emperor Aurangzeb (r. 1658–1707). However, National Gallery of Australia. 1570–1650), the page shows a young Prince Muhammad Shah’s brief revival of Mughal Babur (1483–1530), the first Mughal emperor, painting was severely hampered by the sacking REFERENCES returning to his birthplace of Andijan of Delhi by Nadir Shah of Iran in 1739. Michael Brand. 1995. The vision of kings: art and experience in India, National Gallery of Australia, Canberra following his father’s death. Babur conquered Kalyan Krishna and Kay Talwar. 2007. In Adoration of Krishna: Delhi and Agra in 1526 and established the A large proportion of the Gallery’s painting Pichhwais of Shrinathji, Tapi Collection, Garden Silk Mills Ltd Surat, India dynasty that went on to rule much of India. collection was a gift from British twins Thomas Anne McDonald and Bronwyn Campbell. 1998, A stream of The Gallery’s page is from one of a number and Robert Gayer-Anderson who collected stories: Indian miniatures from the National Gallery of Australia, of Baburnama manuscripts created during Indian paintings in the early 20th century. In National Gallery of Australia, Canberra. the reign of Babur’s grandson Akbar (1542– 1954, the collection was divided between the Pratapaditya Pal. 1995. The Peaceful Liberators, Jain Art from India, 1605). It was under Akbar that art became Victoria and Albert Museum in London and Los Angeles County Museum of Art a central focus of the courts of the Mughal the Commonwealth of Australia. As there was empire. Akbar is renowned for his interest no national art gallery (the Gallery opened in religious diversity, and for his passion for to the public in 1982), the National Library

TAASA REVIE W VOLUME 21 NO.3 17 R ESE a r CH I NG BU R M A : t HE a US t r a l i a N N a t i o N a l UN I VE R S i t Y l i B r a r Y

Charlotte Galloway COVER IMAGES OF EDITIONS OF THE GUARDIAN MAGAZINE, 1955-1970S, BURMA. PHOTO: CHARLOTTE GALLOWAY

urmese art has long been the poor relation B of Asian art historical research. Political upheaval from the 1950s saw access to Burma become difficult for many, right through to the late 1990s. Some intrepid scholars did manage to undertake research in Burma during this time, one of the most notable being TAASA member, Dr Pamela Gutman, who received her PhD from the Australian National University (ANU) in 1976 on the subject of Ancient Arakan. As access became a little easier in the late 1990s, other Australians also took up the challenge of researching in this fascinating country including Dr Bob Hudson (University of Sydney) who worked on his archaeology PhD in Burma, and I followed the Burma interest in my art history PhD at ANU, with most of my research undertaken in the early 2000s. University Central Library in Rangoon from historical publications. Often tucked away the 1960s to the 1980s. Books published in within the collection’s newspapers and Within the small but now quite rapidly Burma, in English and Burmese, were sent to popular magazines are passing references expanding area of Burma studies, knowledge ANU for inclusion in the library collection. to temples and artefacts. To reconstruct sharing by experts with first hand knowledge For local researchers, the ANU collection when objects went ‘missing’ from locations, such as Pam Gutman and others in the field was complemented by the National Library for example, may rely on searching these is essential and appreciated. Many Burma of Australia’s own holdings of Burma news items to try to find a ‘before and after’ resources languish in libraries, not through related material. Canberra’s resources point when an image was reported as being any fault of those entrusted with their care, were significantly enhanced by the NLA’s seen there. This is quite a different research but through the imperatives of allocating acquisition of the Gordon Luce collection approach than for some other Southeast resources in what is determined as the most in 1980 (Gosling 1996). Luce remains the Asian countries where there has been a less effective way. Invariably this means smaller preeminent figure in the study of Burma’s interrupted period of in-country historical specialist collections must wait their turn historical art and architecture. research, and less political interference. before they are properly catalogued, and therefore made more widely available. The collection that has recently come to light Going through the journals brings some at ANU was donated by Dr David Pfanner. Dr interesting art historical material to light. The While more material is becoming available Pfanner completed his PhD in 1962 through Light of the Dhamma issues feature a series on online every day, there are still many books, Cornell University, on Burmese village life. ‘Shrines of Burma’. I was particularly taken by magazines and ephemera that remain hidden He spent time in Rangoon with the Rangoon- the description of the ‘Soolay Pagoda’ (Sule) in library stores, waiting for the interested Hopkins Centre for Southeast Asian Studies, in Rangoon: researcher and librarian with a spare moment and later came to ANU. He has since retired …today a golden island of peace in the heart to trawl through what can be a daunting in Canberra. The material is diverse, and of Rangoon and a most important shrine. pile of uncatalogued material. It is the latter includes magazines from Burma – for You melt out of the busy traffic at the base, which has prompted this article. Recently, a example, editions of the Guardian (Burma’s take off your shoes, climb to the platform and collection of Burmese material has found its National Magazine - incomplete, 1955-1970s), feel you are indeed “upon holy ground”. For way to the surface at ANU. Dr Amy Chan, Myanmar Today and The Light of the Dhamma, when you have mounted the few steps to the Southeast Asian specialist at the Menzies pamphlets on Buddhist studies, and other Pagoda platform, here at once is a cloistered Library, involved students from the Asia ephemera. Rather typically, there is a random peace, cool, quiet, a calm as profound as one Pacific Learning Community in preparing a element to this academic collection, reflecting would wish.’ (U Ohn Ghine 1954:6). display of some of this material in the foyer particular research interests, and simply, of the Library from May to August 2012. material that came his way. The accompanying photo, taken on a ‘close An interesting mix of journals, books and holiday’ does indeed show a tranquil island in ephemera in English and Burmese from the While such items may seem minor in most the middle of the city – a contrast to my own 1950s-1980s, they make fascinating reading! It research contexts, in Burma studies they have experiences of visiting this significant pagoda is timely to review this collection of Burmese a particularly significant role. As information which can only be described as visually dense, related material as Burma is now so prominent services became more restricted in the second busy and alive. The previous edition featured on the international agenda. half of the 20th century, changes to historic the Kaba Aye pagoda and describes how a sites and the movement of sculptures and Holy Man asked Saya Htay, a devout layman, It is probably little known that the ANU other artefacts often went unreported in the to implore Prime Minister U Nu to build the library had a formal arrangement with the more usual forums of archaeological or art pagoda and have it completed by 1952: ‘Great

18 TAASA REVIE W VOLUME 21 NO.3 SULE PAGODA, 1954, RANGOON, FROM LIGHT OF THE DHAMMA VOL 2 (1). PHOTO: CHARLOTTE GALLOWAY

CAMBODIA: ANGKOR WAT AND BEYOND

29 October – 15 November 2012 Angkor’s timeless grandeur is unmissable. Yet Cambodia offers a host of other important cultural and travel experiences: outstanding ancient, vernacular and French colonial architecture; spectacular riverine environments; a revitalising urban capital in Phnom Penh; interesting cuisine and beautiful countryside. Gill Green, President of TAASA, art historian and author specialising in Cambodian culture; and Darryl Collins, prominent Australian expatriate university lecturer, museum curator, and author who has lived and worked in Cambodia for over twenty years, have designed and co-host this longstanding annual program. Land Only cost per person twinshare ex Phnom Penh $4600 buildings would grow up around the site of it held treasures galore. There were earthen ISAN: THAILAND’S ANCIENT the pagoda. If this were done, there would be pots, images engraved in wood, figurines of KHMER CONNECTION Peace in the country and Peace in the world.’ ancient Pagan princesses, and a slab of stone 07 February – 25 February 2013 (U Ohn Ghine 1953:44). No time frame was which had numerous figures of Lord Buddha Isan is the least visited part of Thailand. But this given for the realisation of this prophecy. chiselled out of it’ (Ba Thike 1969:15). Sadly, we north-eastern region has a distinctive identity and, Other temples covered in the series include the have to wonder where these things are now. in many ways, is the Kingdom’s heartland. Here Shway Sandaw, Prome (Shwesandaw, Pyay) older Thai customs remain more intact and sites of and the pagodas of Pagan, and Mandalay. The Libraries are often talked of as being out of historical and archaeological significance abound. Darryl Collins and Gill Green (see above) expertly accompanying images are of strong historical fashion. Yet we should remember that not host this new journey which includes spectacular interest as we trace the changes to many of everything is available at our fingertips. Khmer temples such as Prasat Phimai, Phanom these important buildings. The tangible nature of books and ephemera Rung (reputed to be the blueprint for Angkor Wat) offer an additional experience that a screen and Prasat Meung Tam. We cross the mighty Mekong into Laos to explore Wat Phu Champasak The Guardian carried articles on a broad cannot convey. Handling the magazines in the before concluding in Vientiane and magical range of topics, from business and political Pfanner collection is participating in a lived Luang Prabang. matters to literature and cultural affairs. The experience. Seeing the images on the real Land Only cost per person advertisements alone offer an insight into page engages us with a particular moment twinshare ex Bangkok $4500 daily life during the period and the availability in history. This all adds an extra element to of ‘modern’ products – from Pelikan ink and understanding the past that goes beyond INSIDE BURMA: imported aerated fruit-flavoured water to just knowledge. A lot is being written about THE ESSENTIAL EXPERIENCE ‘French’ coffee and hair blackener. In the May Burma right now, and a lot more is to come. In 1960 edition there is a feature article on ‘Chin the rush, I am sure much of the detail will be 15 February – 06 March 2013 memory stones’ by Herbert Wehrly, a Fulbright missed. For those who have the time and the Burma is undergoing unprecedented change and scholar. This refers to memorial stones which interest, a slow meander through the pages of publicity. Few people have immersed themselves as deeply here as TAASA contributor Dr Bob Hudson. were placed in a prominent location near these popular publications has the potential His longstanding annual Burma program features a village, and served as a place to visit and to offer us a very special way of appreciating extended stays in medieval Mrauk U, capital reflect on the deceased’s life. He describes the much of Burma’s recent cultural ‘history’. of the lost ancient kingdom of Arakan (now intricate carvings on these memorial stones, Rakhine State) and Bagan, rivalling Angkor Wat which include depictions of ‘enemies and Dr Charlotte Galloway lectures in Asian art history as Southeast Asia’s richest archaeological precinct. and curatorial studies at the Australian National Exciting experiences in Yangon, Inle Lake, Mandalay animals killed by the deceased’, a tribute to and a private cruise down the mighty Ayeyarwady their past exploits (Wehrly 1960:13). University, Canberra. are also included. Limited places available. Land Only cost per person In July 1969, the Guardian’s regular column REFERENCES twinshare ex Yangon $3990 ‘Campus Writing’ recounts Katherine Ba Ba Thike, Katherine. 1969. ‘Days to Remember’ in The Guardian, vol 16(7): 12-19. Thike’s trip with fellow university students To register your interest, reserve a place or for Gosling, Andrew. 1996. ‘Burma and Beyond: The Luce Collection from Rangoon along the ‘tourist corridor’ – Inle, further information contact Ray Boniface at the National library of Australia’ in National Library of Australia Taunggyi, Pindaya, Meiktila, Popa, Pagan. She News, vol. 6 (13); pp 3–5. H ERITAGE D ESTINATIONS makes some tantalizing remarks about Pagan: U Ohn Ghine. 1953. ‘Shrines of Burma No 4. The Kaba Aye, NATURE • BUILDINGS • PEOPLE • TRAVELLERS ‘Wherever I went, I was held spell-bound by “The World Peace Pagoda”’ in The Light of the Dhamma, vol.1(4); PO Box U237 the exquisite statues and statuettes sculptured pp 44-46. University of Wollongong NSW 2500 Australia out of wood and stone. Smaller shrines of jade ‘Shrines of Burma No: 5 The Sooley Pagoda, The Light of the p: +61 2 4228 3887 m: 0409 927 129 Dhamma Vol.2 No 1 1954:6-7. and glazed pottery were equally breathtaking’. e: [email protected] Wehrly, Herbert. 1960. ‘Chin Memory Stones’ in The Guardian, At the Ananda temple: ‘It was a tiny museum ABN 21 071 079 859 Lic No TAG1747 built in the premises of Ananda pagoda but vol.7(5): 13-17.

TAASA REVIE W VOLUME 21 NO.3 19 FOCUS ON INDIA a t t HE 2 0 1 2 SY D NEY F i l M FES t i V a l

Jim Masselos

GANGS OF WASSEYPUR, NAWAZUDDIN SIDDIQIU PLAYS FAIZAL KHAN, STILL FROM FILM. COURTESY SYDNEY FILM FESTIVAL

he Sydney Film Festival usually coincides T with a first touch of winter that freezes up the Queen’s birthday weekend. Cold and films become synonymous for regulars at the Festival especially given the chilly down draughts in the glorious but cavernous State Theatre. As for the films, festival goers buy a subscription to pre-selected films which includes films in the official competition, or make their own selection and create their own mini-festival.

Redressing years of neglect the festival this year focused on Indian films, though only one made it into the subscription series. Another four were spread throughout the 12 day marathon. The pickings varied. Of the two retrospectives, one offered Bertolucci and the other was for those with recondite Asian interests– in cult movies from Japanese studio, Nikkatsu. There was nothing from Korea, in past years a powerhouse of quality cinema. From Hong Kong/China came A Simple Life, a gentle story about a family servant who moves into aged care. It had a touch of the humanism that underscores many fine Asian films. And the confrontation between film and audience pushes in lustrous black and white at the there was a USA/China documentary, Ai so intense is the amoral world of the gangs. boundaries between art and pornography. Weiwei: Never Sorry about the battle between Virtually everyone in the film is an anti-hero: Though virtually banned in India it has art and state control. there are no characters to identify with – all had worldwide internet circulation and has are flawed, as unlikable and as capable of garnered appreciative comment from outside Otherwise the field as far as Asia was extreme violence, as any of the others. Without critics. However there was more than enough concerned was largely left to India but not to redeeming heroes the concluding message is realism in other Indian films at Sydney to Bollywood films: there were no singing and that exploitation and the assertion of force will compensate for what was missing. dancing epics of the sort that have become continue: even if one generation is killed off, familiar in recent years. There was however the next will continue on similar trajectories. Anand Patwardhan, a veteran independent one epic, Gangs of Wasseypur, but it had Here is no optimistic vision and no catharsis; no director from Mumbai, was at the Festival to little connection with mass Hindi cinema humanism nor redress of social injustice. The introduce his documentary, Jai Bhim Comrade. - both the producer Vikram Malhotra and film takes a hard look at realities, specifically at All his films are long and detailed and this the director Anurag Kashyap are outsiders criminality in a resource-scarce region, and in was no exception, clocking in at 195 minutes. to Bollywood. Their film is about opposed doing so provides a powerful metaphor for the As always with his work some of it was criminal gangs and rivalries running through state of the nation. repetitive and might have been further edited. generations. The two three-hour films weren’t But the deep insights he achieves through his the endurance test I had expected. The story Gangs is a cinematic coup and was one of interviewing and recording techniques and of gangs in Jharkhand state in eastern India as the films in Sydney’s Official Competition: his committed and probing intelligence repay they worked out the logic of their lineages and the first Indian film so chosen, though the the longueurs. their community affiliations was absorbing, independent Jury did not award it the Prize. and the confidence and sweep of the narrative It has also been recognised elsewhere, being Jai Bhim Comrade follows the consequence of were breathtaking. The opening sequence included in the Directors’ Fortnight at Cannes, riots that broke out in a Mumbai slum in 1997 when a gang machine guns the home of a rival but also there failed to score a prize. when Dalits (former Untouchables) protested leader was a tour de force: the violent attack - against the desecration of a statue of their virtually a military battle – had an important While Bollywood deals with dreams, the leader, Dr Bhim Ambedkar, the eminent filmic function in framing what was to occupy alternate Indian cinema -of which Gangs is jurist who chaired India’s constitutional the next six hours and in bringing the threads a prime example - deals with present day drafting committee after Independence. together at the end. realities. Other films of similar ilk did not Police fire caused the death of ten unarmed come to Sydney though they are causing a Dalit demonstrators and a few days later an The film is confronting –some of the audience stir in India. Among them is Gandu, which, activist poet and singer, Vilas Ghogre, killed left during peaks of violence. What made judging by the reviews and the trailer, himself in protest over what had happened.

20 TAASA REVIE W VOLUME 21 NO.3 JAI BHIM COMRADE, INDIAN POLICE, STILL FROM FILM. COURTESY SYDNEY FILM FESTIVAL

Patwardhan explores Ghogre’s death using his taped ballad songs to counterpoint interviews with relatives of the victims. Over the years he continued to shoot in the slum until the false charges against the demonstrators were dismissed and their families achieved some closure, justice of sorts but a decade and a half late. Only then did Patwardhan complete his film. Stories of repression and resistance in India are unfortunately all too common but they have added poignancy here through Patwardhan’s use of Ghogre’s songs, themselves part of an incredible time of literary flowering amongst Dalits.

Like others in Focus the film strongly critiques religion. In the 1950s Dalits en masse followed Dr Ambedkar and abandoned Hinduism. Literally millions converted to Buddhism, a process still going on. They chose a strict atheistic form of Buddhism, rational and non- religious, denying deities, superstitions and supernatural symbols, entities or forces. For them Buddhism is a way of living, a path, rather than religious escapism through worship of deities. The force of Dalit atheistic rationalism features powerfully in the interviews, as does opposition to Brahmanical Hinduism. Bengali poet, Sarthak. Sandeep Ray, the son of temptation to indulge in polemics. Finally, the A satiric film, Deool (‘The Temple’) is likewise India’s greatest film maker, Satyajit Ray, shot achievement of director Musa Syeed should be concerned with religious excesses in a story the film over 20 years and so is able to trace noted for the excellent performances he evokes about a herdsman who saw the deity, Lord Sarthak from student to published poet and from his two non-professional leads, Gulzar Datta, emerging from a fig tree. The news on to married householder. As a husband his Bhat and Neelofar Hamid. spread through the village and into the life is much as it was when he was a student. surrounding region. Inevitably the place He lives in the same household and among Focus on India had distinct triumphs. That became a pilgrimage spot, a grandiose temple much the same people – and he even sleeps so many of the Festival audience chose not was constructed for Lord Datta and the village in the same bed. Through him we see some to see the films is a matter of concern in the minted money out of the influx of devotees. of the traumas of the creative personality and context of Australia’s Asian literacy. Also The villagers though soon found they could share his doubts as he worries about what concerning was the exclusion of Bollywood not handle the consequences of what was has happened to his early poetic inspiration films – they are a genre that surely requires being done in the name of Lord Datta. and we see him immersed in the excited cineaste attention. What emerges from what discussions that feature so much in Bengali we did see is a cinema of bravery. The films do The film is a study of village life, of how intellectual life. not hesitate to take up contentious topics and religion affected it and how some villagers confront key issues in present-day India. This managed to escape the commercial and The final film in the Focus program immediately is cinema of commitment and engagement political manipulation changing their lives. It struck the right chords. Valley of Saints is and it is cinema that believes it can have is not however a frontal attack on religion but the story of Gulzar who decides to leave affect, that it can have influence. Cinema need on excesses caused in the name of religion and his lakeside village in Kashmir for a better not preclude activist involvement, and need it is about how Lord Datta is freed from being life outside. His plans are thwarted by the not only be escapist. That the films carry their exploited. In the process we are presented imposition of curfew in nearby Srinagar. As he commitment so skilfully and convey it in true with humour that is confident, probing, even waits to get out he meets, and inevitably falls in cinematic modes is an added bonus. sardonic and with some idyllic moments of love with, Asifa, who is investigating pollution pastoral beauty and pastoral peace. The film in the lake. While government agencies enforce Jim Masselos has recently edited The Great Empires comes from Maharashtra, the state of which the closure of the city the couple manage for of Asia (Thames and Hudson) and co-authored Mumbai is the capital, and demonstrates that a time to create their own space, their own Bombay Then and Mumbai Now (Rolli). His co- not only Bollywood films are being made in world. What follows is a delicate minimal love authored Beato’s Delhi: 1857 and Beyond with the region. It is likely to be the source of more story handled with a sensitivity that made the Narayani Gupta, has just been reprinted by Penguin such films, just as Bengal continues to make film stand out at the festival and presumably Viking India. its own style of film, distinctively apart from earned it its award at the Sundance Film Bollywood’s flamboyance. Festival in the USA. The film shows concern for environmental issues, has some stunning One such, The Sound of Old Rooms (Kokkho- photography and presents prevailing religious Poth), provides perspective into the life of a and political issues while avoiding the

TAASA REVIE W VOLUME 21 NO.3 21 B o o K r EV I EW: THE DELHI CORONATION DURBARS

Narayani Gupta H.H. THE NIZAM’S ELEPHANT, DELHI CORONATION DURBAR 1903, RAJA DEEN DAYAL & SONS,

SILVER GELATIN PRINT, 263 X 197 MM. COURTESY ALKAZI COLLECTION OF PHOTOGRAPHY Power And Resistance: The Delhi Coronation Durbars Julie E. Codell (ed) The Alkazi Collection of Photography in association with Mapin Publishing, 2012 245 pp, 138 images, catalogue of photographs, bibliography, index. RRP: AUS$75 (hardcover)

A dust-coloured sandstone obelisk stands in a dusty expanse in north Delhi, with the inscription: Here on the 12th day of December 1911 His Imperial Majesty King George V Emperor of India Accompanied by the Queen Empress In solemn Durbar Announced in person to the governors, Princes and peoples of India His coronation celebrated in England On the 22nd day of June 1911 And received from them Their dutiful homage and allegiance

The Ozymandias celebrated in this inscription has not been reduced to ‘two vast and trunkless legs of stone’ but can be seen immortalised in a fine marble statue standing a few yards away. Sculpted by Charles Sargeant Jagger in George V’s lifetime (Jagger died at the age of 49, and the statue was completed by William Reid Dick), it stood at the eastern end of Kingsway (since renamed Rajpath), the central vista of the New Delhi built after George V announced at the Durbar that the capital of British India was to be moved from Calcutta to Delhi. In 1967 the statue was shifted, along with those of other British worthies, with unintended irony, to the Coronation Memorial field, fenced off and called a Park. After the 1857 Uprising, the East India Hence the idea of the ‘durbar’: the Persian/ Company was ordered to hand over the Urdu word durbar means a court or a levee. The inscription and the motley collection of government of its Indian territories to the Reminiscent of Henry VIII’s Field of the statues cry out for interpretation. In India, British Crown. In a self-denying spirit, they Cloth of Gold, and of the army camps of undesignated spaces are quickly appropriated swore off further conquests, and till 1947 Mughal rulers, tented cities were overlaid – for decades, the people of Burari, the nearby the map of India was an untidy one, with on 80 square miles in north Delhi, the land village, have used Coronation Park as a curly-edged swathes of territory ruled by of seven villages vacated of their inhabitants, convenient central point of a track for horse- the British monarch, interspersed with the to create ‘civilisation out of barrenness’ (sic !). cart races, and set up tented enclosures for states of over 600 princes (never referred to as This site was used for three Durbars: in 1877 wedding celebrations. Children from the kings) ‘protected’ by the Crown. when Victoria was proclaimed Kaiser-e-Hind neighbouring school wander around, and the (Empress of India); in 1903 to commemorate odd tourist arrives to tick off yet another of When in 1877 Queen Victoria was proclaimed her son Edward’s coronation and, in 1911, the ‘sights’ of Delhi. There are plans afoot for ‘Empress of India’, she was at once the ruler that of her grandson George V. a large park, with an interpretation centre that of large territories and the feudal overlord will demystify this space. Until that becomes of the princes. One way to proclaim this Victoria took her role as Empress very a reality, Julie Codell’s book will stand as an dual role was to gather together ‘loyal seriously but could not visit her subjects. excellent interpretation of one of Britain’s subjects’ and princes for a well-publicised Both Edward and George made journeys to most quirky invented traditions, the “Durbar’. display of ‘dutiful homage and allegiance’. India while heirs-apparent, and George came

22 TAASA REVIE W VOLUME 21 NO.3 STATE ENTRY, GEORGE V ON HORSEBACK, 1911, E. BROOKS, CENTRAL NEWS AGENCY STAFF PHOTOGRAPHERS,

SILVER GELATIN PRINT, 112 X 159 MM. COURTESY ALKAZI COLLECTION OF PHOTOGRAPHY again, with Queen Mary, to mark his accession to the throne. Statues in every city and town, framed photographs, coins and stamps, made the monarch’s face familiar to Indians, but it was 50 years after the last Durbar, and in very different circumstances, that Queen Elizabeth II visited India.

What were ephemeral celebrations lasting a little over a week – since there were no monumental remains, bar the solitary obelisk – have become permanently etched in history because they were portrayed by artists, photographers, film-makers. Last year, the centenary of the grandest, that of 1911, was marked by exhibitions and publications. This beautifully produced book is the only one to discuss all three Durbars. All the illustrations have been drawn from the impressive archives of the Alkazi Collection of Photography in Delhi. Edited by Julie Codell, distinguished art historian, it has contributions by her and eight other scholars. universities in India, and Hyderabad ruled by Ryan with Nicola Thomas). The element the Nizam was a model of good governance of order – both in the processions and the Jim Masselos’ essay sets the context: Lytton’s and city-planning. Benjamin Cohen and somewhat passive spectators – and the ill-timed Durbar of 1877 set against the Deepali Dewan’s essays describe how in majesty of monumental architecture and background of a widespread famine; that of 1903 Deen Dayal, the famous photographer the vast expanses, are conveyed repeatedly. 1903 set against Curzon’s unpopularity with of Hyderabad, used photography to suggest The only thing we miss is the mini-India British officials, and the 1911 celebration, that the Nizam, rather than Curzon, was the created by the princes’ camps, and the colour held in a time of drought as well as robust most important personage in the Durbar. In - the crowds described by a schoolboy from Indian opposition, when a section of the 1911, the Nizam’s son was likewise able to Parramatta as ‘a monstrous hive of multi- nationalist movement was becoming radical. convey this impression, as his elephants were coloured bees’(page 199) - which appears so The extravaganzas appear as ‘an archaic far more magnificent than the horse on which vividly in the luminous paintings of 1903 by convention that failed to confront the the King had chosen to ride. Mortimer Menpes, an Australian-born British problems of governance along rational and artist, described by Saloni Mathur. modern lines’(p 202). The Durbars were miracles of micro-planning by the civilians and the army, a felicitous As George V leaves Delhi on 16 December Text-books for this period concentrate on the combination of bandobast and jugaad. The 1911 for a well-earned holiday (to shoot nationalist movement in British India. The first, a word very popular with the British, tigers in Nepal) Chris Pinney takes us on value of this book is that it gives us a vivid meant meticulous arrangements; the second, a brilliant journey to show that the camera sense not only of the Viceroys and King, but which we Indians use all the time, implies did not merely capture views of order and also of the princes. If Commander-in-Chief the chaos that prevails almost till the end, hierarchy and the sense of the unity of India Kitchener’s snub to Curzon (Fig.104 on page when suddenly everyone gives the matter full that Curzon claimed was an outcome of 154, though the incident is not explained in attention and a perfect show is put on (if you his Durbar. It could also pick up scenes of the text) cast a shadow over 1903, the Baroda have seen the film ‘Monsoon Wedding’, you Indian autonomy, and later, of their resistance prince’s discourtesy to the King did the same will understand). Hierarchy was the basis of to colonial policies of law and order. On 9 for 1911. There are superb photographs of all arrangements – hierarchy in gun-salutes, December 1911 in Delhi the King was at a polo the princes, often more than one (so that we medals, location of tents, the sequence of the tournament, and in South Africa a lawyer can decide whether they had visibly aged procession... For minutiae (eg Who paid for called Mohandas Gandhi was urging fellow- between 1877 and 1903, or 1903 and 1911) the King’s Indian crown? Answer: the Indian Indians to contribute to the famine relief fund. and our attention is drawn to their notion tax-payer), you will have to look elsewhere Twenty years later the two were to meet – not of appropriate costume – the British would – the answers are in Sunil Raman and Rohit at a Durbar but in Buckingham Palace. And have liked them to carry the contents of their Agarwal’s Delhi Durbar 1911: The Complete therein lies the answer to why the Durbar of jewellery caskets on their persons, but many Story (Roli Books, Delhi, 2012). 1911 was the last one. princes, educated in the special colleges set up for them by the government, preferred to be in There were two components to the Durbars: Narayani Gupta retired as professor of history at military uniform and British boots. the ceremonies in the amphitheatre, and Jamia Millia Islamia, New Delhi. She is presently a the long processions that wended their consultant with the Indian National Trust for Culture I wish it had been possible to convey in the way through the city. The chosen routes and Artistic Heritage. Her interests are urban history captions some sense of them as rulers – the deliberately linked the Mughal Fort and and architectural conservation. Begums of Bhopal were remarkable women city with the northern Ridge beyond, sacred who changed the face of their state, the because the British forces had camped there defiant ruler of Baroda set up one of the best in the tense summer of 1858 (essay by James

TAASA REVIE W VOLUME 21 NO.3 23 B o o K r EV I EW: SACRED SITES OF BURMA

Pamela Gutman

inspire people to believe that their heartfelt last Mughal emperor who died there in exile, prayers and precious material donations will Anglican and Catholic cathedrals and the advance their ongoing needs in this life and Hindu Ganesha temple. even the next, and must embody power, hope and sanctity. In the Mon chapter the sacred hair motif encountered at the Shwedagon takes different In the wide-ranging introduction, he discusses and often confusing forms, with the relic the role of sacred sites, how they evolved and, being received by merchants or hermits, or sometimes, how they fell into neglect. The even magically discovered in a ruined pagoda three most successful sites today, the Shwe by the king. The traditions of minorities Dagon, the golden rock Kyaik-hti-ko and the often become intertwined with those of the Mahamuni temple in Mandalay all developed dominant group, reflecting changes in the local hundreds of years after the Pagan period political situation. Stadtner has recognised (11th-13th centuries), although the traditions Karen elements in the myths surrounding the surrounding them take them back to the time Golden Rock, and observes how the Shans in of the Buddha. These three sites are connected the Inle Lake region absorbed both Burmese by their myths linking them to the Buddha, his and minority group traditions into their relics, and the power that they were believed myths, while some ethnic groups formulated to grant to the kings who patronised them. purely indigenous legends. In Danu folklore, Even after the British largely destroyed the for instance, a huge spider held a princess close connection between Church and State, captive until a Danu prince sunk an arrow into Sacred Sites of Burma: Myth and Folklore in their importance continued right through its side, the incident now vividly portrayed an Evolving Spiritual Realm to the post-colonial period, when political within the famous Buddhist Pindaya cave in Donald M. Stadtner, River Books, Bangkok 2011 leaders saw themselves as successors to the Shan State. 348 pp. Maps, illustrations, bibliography. earlier kings. RRP: 995 Baht (AUS$30), paperback This book would be ideal to take on a leisurely It is interesting that certain sites recently trip to Burma, to dip into while visiting the This is an ideal book for those making a repeat patronised by powerful, but now deposed, many sites it describes. Its reflections on visit to Burma, especially those discerning members of the previous government are religion, power, political change and the way travellers wanting a detailed introduction to currently shunned. Former Secretary 1, these are echoed in local beliefs will lead contemporary Burma’s spiritual and artistic Lt. General Khin Nyunt, had supported to an enhanced understanding of the least heritage. Art historian Donald Stadtner takes the long-neglected Alodawpyi temple at understood country in Southeast Asia. a broad, overarching view of Burma’s myths, Pagan, reinterpreting its origin myths and distinguishing major ethnic and regional encouraging pilgrims to donate to fulfil their Pamela Gutman is an Honorary Associate in the differences. He attempts, as successfully as wishes so successfully that the temple was the Department of Art History and Film Studies at the one can, to trace the origins of these myths first in Pagan to install air conditioning. After University of Sydney. and their major manifestations over the his downfall, however, it became associated centuries. While others have studied aspects with bad luck. of these myths, Stadtner is the first to discuss and to compile them as a whole and the book Chapters on Rangoon, the Mon country, contains much of interest to Burma specialists. Magwe and Prome, the sites of the Buddha’s apocryphal visit to Upper Burma, Pagan, Over 400 excellent colour photographs, taken and the later Burmese kingdoms including by him and Paisarn Piemmattawat, illustrate Mandalay and Amarapura, Inle Lake and not only the major monuments usually Rakhine (Arakan) State follow. visited by foreigners but also those important to the Burmese pilgrim. They include many The Rangoon section examines the illustrations of folk art – paintings and development of the Shwedagon myth which sculptures relating to local traditions of a involved two Mon brothers who travelled to great many sacred sites, subjects generally India, where the Buddha himself presented neglected or dismissed in publications dealing them with the hair relics now believed to with “high” art. Indeed Stadtner tells us that be enshrined there. Other sites later became he consulted local tourism operators whose incorporated into this tradition. The Rangoon buses and trucks take pilgrims to sites which section also includes the history of the city, promise to fulfil “the aspirations of a people”, and especially its colonial heyday. Non- and found that his lists largely tallied with Buddhist sacred sites then appeared: the theirs. A successful sacred site, he says, will Baghdadi Jewish synagogue, the tomb of the

24 TAASA REVIE W VOLUME 21 NO.3

I N t HE PUB l i C d o M a i N: A BURMESE BUDDHA AT THE MAITLAND RE G I O N A L A R T G ALLER Y

Cheryl Farrell BURMESE BUDDHA (LATE 18TH-19TH CENTURY), MARBLE, LACQUER, WOOD, PAINT AND GLASS, 94 X 67 X 43CM, DONATED TO THE MAITLAND REGIONAL ART GALLERY COLLECTION UNDER

THE AUSTRALIAN GOVERNMENT'S CULTURAL GIFTS PROGRAM, 2009

aitland Regional Art Gallery (MRAG) is particularly favoured in M is located in the main street of Maitland the Mandalay style. in the Hunter Valley of NSW. It is housed in two 100 year old structures integrated The MRAG Buddha has with a new two level contemporary gallery been lacquered and gilded, building, an award winning adaptive re-use with some lacquer worn of a heritage building completed in 2009. The away on the Buddha’s redevelopment has resulted in a spacious, right wrist and hand. light filled art gallery with 11 exhibition This may have occurred spaces, café and shop and MRAG is now through water being one of the largest and most active regional poured over the Buddha galleries in NSW. by the faithful as a sign of respect and devotion. MRAG is a collecting institution with more His coloured lacquer robe than 3000 items in its collection. Although its is represented as a sheer main focus is ‘works on paper’, the MRAG covering and is draped collection is quite diverse and includes simply from the left sculptures, paintings and photographs, shoulder and across the drawings and prints. It also includes sub- chest. This differs from the collections featuring historical photographs typical Mandalay style of of Maitland, Les Darcy memorabilia, African Buddhist sculpture where bronzes and Asian artworks. the robes are depicted more heavily, with more The small collection of Asian artworks in the elaborate, draping folds MRAG is the result of donations received over across the shoulder. the last seven years through the Australian Government’s Cultural Gifts Program (CGP). The Buddha’s facial Gifts such as these, which include our marble features are somewhat Burmese Buddha, are critical in allowing us to childlike with a small, build our collection in a range of directions. sweet smile. His eyes are half open and slightly This large, seated Buddha was donated to downcast and there is MRAG in 2009. It was created around the a circular raised dot, late 18th or early 19th century in Mandalay, the urna, between high arched eyebrows. generous donation from our benefactor, this Myanmar (Burma) and is in the Mandalay Across the hairline is a plain narrow band, Burmese Buddha sculpture has not been lost, style, a style of Burmese Buddhist imagery typical of the Mandalay style, and the top of but will be cared for and displayed to the which developed toward the end of the 18th the Buddha’s head is covered in small raised public as a part of MRAG’s custodianship of century and is still seen today in sculptures of circles, denoting knotted curls. The curls circle this beautiful piece. the Buddha from Burma. the raised ushnisha, the cranial bump that signifies wisdom, and the bulbous finial above The Burmese Buddha will be on display at In Buddhist iconography every Buddha the ushnisha is unadorned. Also typical of the MRAG in October 2012. imparts a message, or depicts a significant Mandalay style are the elongated earlobes moment from the Buddha’s life, by way of which curve gently toward the neck and touch Cheryl Farrell is the Collection Curator, Maitland the figure’s posture and hand gestures or the shoulders. There are also three roll marks Regional Art Gallery. mudra. Our Buddha is seated in the lotus on the neck, another auspicious sign. position, his right arm extended straight from REFERENCES Dr. Richard M. Cooler, The art and culture of Burma, Part Three, the shoulder, with long fingers touching the The marble sculpture comprises the body of The Post Pagan Period - 14th To 20th Centuries. Available online ground. This earth touching gesture, known as the Buddha and a simple lotus pedestal on (14/6/2012): http://www.seasite.niu.edu/burmese/Cooler/ the bhumisparsha mudra, signifies the moment which the Buddha is seated, which is common Chapter_4/Part3/post_pagan_period__part_3.htm when the Buddha overcame all physical and in Burmese Buddhist imagery. The sculpture Sylvia Fraser-Lu, “Buddha images from Burma, Part 1: Sculptured spiritual obstacles to achieve Enlightenment. is inset into a red lacquered wooden base in stone”, Arts of Asia, January–February, 1981. It became popular in Burma during the inlaid with small coloured glass pieces. Meher McArthur, 2002. Reading Buddhist art: an illustrated guide Bagan (Pagan) period (1044 - 1287), a time to Buddhist signs and symbols, Thames & Hudson London. when a distinctive Burmese style of Buddhist After attaining enlightenment, the first of Jackie Menzies (ed), c2001. Buddha: radiant awakening, [Sydney]: sculpture developed. The bhumisparsha mudra the three great ‘truths’ which Buddha taught Art Gallery of New South Wales. has since become the most common position in was that ‘nothing is lost in the universe’. Philip Rawson, 1967.The Art of Southeast Asia, Thames and Hudson. which the Buddha appears in Burmese art and It is wonderful to know that, thanks to the

26 TAASA REVIE W VOLUME 21 NO.3 YU r i ’S BU R MESE d V D : a r EV I EW

Merry Pearson FRONT COVER OF DVD TRIBUTE TO MAESTRO PYONE CHO. COVER DESIGN

BY YE NAING LINN (KYIKLAT) AND 'YURI' (YURI TAKAHASHI) © YURI TAKAHASHI

hat’s a nice girl from Tokyo, who W now lives in Sydney, doing fronting a classical (Burmese) music band on a DVD made in Myanmar?

Yuri Takahashi blames it on jazz. That might seem like quite a stretch, but Yuri says the love of jazz she developed during her junior high school years opened her to appreciation of other forms of music. So when she arrived in Yangon, Myanmar, in the early 1990s as a Burmese specialist with the Embassy of Japan, she found herself captivated by Mahagita, Burmese classical music. Before she was transferred to the Japanese consulate in Sydney, she studied Burmese classical songs with the eminent musician Sein Bo Tint. And since arriving in Sydney, she has been performing for the Burmese community, notably with Thuang Tin, who also studied with Sein Bo Tint.

Her interest in things Burmese remains prominent in her life here in Australia. She has earned an MPhil degree in Modern Burmese Intellectual History from the University of Sydney, where she is now completing her of March, more than 800 copies have been PhD thesis in the same field. And she shares a distributed in Myanmar for the cost of common desire to promote Burmese musical copying. heritage within that country with her fellow student in Myanmar, Ye Naing Linn. He is now Although the DVD is targeted at the Burmese one of the top Mahagita musicians in Myanmar, domestic audience, the overseas Burmese the leader of his Mingalar Hsaing Ensemble community in places such as Sydney, and the musical director for this DVD. Auckland, Singapore, London and Tokyo have now begun to be aware of it, and Yuri is seeking With the aim of promoting Mahagita, the a company to reproduce it with translation for two of them this year produced a DVD in international distribution in the near future. Myanmar to pay a tribute to the Mahagita There are several recordings of Mahagita songs maestro Pyone Cho (1878–1928). Yuri sang targeting international audiences, but Yuri with Ye Naing Linn’s ensemble for the DVD. believes this DVD offers the first combination of the music with images. The songs on the DVD include some by Pyone Cho and some that Ye Naing Linn Interested readers can view part of the DVD at wrote in the maestro’s honour. The DVD was http://www.new-sky.info/YuRiTakahashi/ filmed in January by an all-Burmese crew in YuriTakahashi_htm.html. Scroll down to the the serenely beautiful setting of the Ma Soe black screen and click on the ‘play’ icon. Yeing Buddhist monastery in Kyaiklat, a town in Ayeyarwaddy delta, from where Pyone For more information on the DVD ‘Tribute Cho originated and where Ye Naing Linn’s to Maestro Pyone Cho’ by Ye Naing Linn ensemble is based. The monastery was happy (Kyaiklat) & ‘Yuri’ (Yuri Takahashi), contact to help with the project because many of the Yuri Takahashi at [email protected], songs are related to Buddhism. (02) 9799-0290 or 0431 471 496.

The DVD is not being distributed Merry Pearson is a freelance writer and editor with an commercially, its reputation is growing interest in music of all kinds. For many years she was through word-of-mouth and some very on the committee of the Australian Institute of Eastern positive media coverage. From the beginning Music and editor of their newsletter.

TAASA REVIE W VOLUME 21 NO.3 27 R ECEN t t a a S a a C t i V i t i ES

PERSIA IN DOUBLE BAY, (L - R) FRANCES BROWN, SYLVIA CAMPBELL,

MARGARET AND LEIGH MACKAY. PHOTO GILL GREEN

PERSIA IN DOUBLE BAY, SYDNEY 2,500 years from the Achaemenid dynasty Leigh Mackay of Cyrus and Darius to the glories of 16th century Isfahan under Shah Abbas. TAASA’S event Persia in Double Bay, scheduled for 23 June, was an invitation to view the Interestingly, one of the oldest of the Persian collection of local Iranophile, Frances Brown. rugs, a Shirazi (Southwest Iran) on the floor, Demand from members was so high that was acquired not by Frances but by her parents Frances kindly took three groups through her when she was a girl. An Iranian carpet dealer collection over the weekend. arrived at their house on the NSW Liverpool Plains in the 1930s and assured the family that Entering her apartment on a clear winter the rug would ‘last forever.’ He may be right: day was like walking into a Persian bazaar - Frances says she still walks on it every day. except the view from the sunny rooftop was of Double Bay, not Isfahan, and the many decorative items displayed for our enjoyment Amongst the many lovely items Frances A TAASA VISIT TO THE WHITE included some rarer pieces than you would passed around the group (helped by her sister, RABBIT GALLERY, SYDNEY probably find in most Iranian bazaars today. Sylvia) were glazed bowls with sophisticated Minnie Biggs Chinese-inspired blue-and-white patterns, Frances had recently returned from 20 years in which contrasted with ceramics bearing folk On 25 May, 36 TAASA members met at the London as a volunteer at the Victoria & Albert motifs, as well as tribal rugs and animal White Rabbit Gallery under the aegis of Gill Museum. The V&A’s remarkable collection of trappings with their bold and colourful Green. We were led in three groups by the Persian and other Islamic art had inspired her to geometric designs. Amongst the interesting gallery’s excellent guides around the latest travel to Iran, sparking her long love affair with metal artefacts was a relatively rare brass hang of the Gallery’s contemporary Chinese all things Persian. We saw some of the fruits of ‘compass’ that showed Muslim worshippers art collection. this love affair: an eclectic array of glass, ceramics, the direction of Mecca. metal work, carpets and textiles collected during The White Rabbit is one gallery where a 15 years of visiting the bazaars of Iran’s old cities Frances explained the history, techniques and guide really makes a difference. Not keen on such as Teheran, Isfahan, Shiraz and Yazd. motifs of selected items, ranging over some explanations myself, nevertheless here they

t a a S A ’ s 2 0 1 2 a NNU a l GENE r a l MEE t i NG

Sandra Forbes

TAASA’s Annual General Meeting for 2012 by the Powerhouse Museum) and has been fe’n Cheah, Ann Proctor and Sabrina Snow was held on 15 May 2012 in the Members’ hailed as a resounding success. TAASA’s 20th offered themselves for re-election, and were Boardroom at the Art Gallery of New South anniversary party was held at the Sherman re-elected unopposed. Charlotte Galloway Wales. Gill Green, President of TAASA, was Contemporary Art Foundation in Sydney by and Susan Scollay, two new nominees for the in the Chair, and 25 members attended. kind permission of Dr Gene Sherman; the 150 Committee, were also elected unopposed members and friends present were particularly for standard three-year terms. Matt Cox The Financial Report for the year ended delighted that retiring AGNSW Director and Jocelyn Chey re-offered their services 31 December 2011 was presented by and first Honorary Life Member of TAASA, for one year, and it was agreed that they, Treasurer Ann Guild, who noted that extra Edmund Capon, was able to attend. This was plus Margaret White and Todd Sunderman, expenditure during 2012 had been planned also the occasion to announce the winners of would be members of the Committee for for, and was chiefly the result of celebrations TAASA’s Essay Prize for Asian arts students, a one year until the next AGM. For the full list of TAASA’s 20th anniversary, in particular TAASA initiative this year to encourage a new of current TAASA Committee members, see the publication of a special anniversary generation of Asian art scholars. Contents Page this issue. issue of the TAASA Review. Her report was received and accepted. The three-year appointment terms of The meeting also agreed that Honorary Life a number of members of the TAASA Membership be awarded to Josefa Green, In her President’s report to the meeting, Gill Committee of Management were due to editor of the TAASA Review, in particular noted that the 20th anniversary gold-covered expire at this meeting. Philip Courtney, for her work on the 20th anniversary issue. December 2011 issue of the TAASA Review was Sandra Forbes and Lucie Folan had advised It has been a very busy and extremely the outcome of more than a year’s planning, that they would not seek re-election, and satisfying year for TAASA and we hope that with input from a wide range of members and were thanked by the Chair and meeting for we continue to go from strength to strength. institutions (including welcome sponsorship their past contributions to TAASA. Hwei-

28 TAASA REVIE W VOLUME 21 NO.3

WHITE RABBIT GALLERY, (L - R) YVONNE TENPAS,

MOONYEEN ATKINSON. PHOTO GILL GREEN are worthwhile. It is greatly enriching to learn, t a a S a MEMBE R S’ d i a r Y for example, that an exquisite 3D sculpture SEPTEMBER – NOVEMBER 2012 made entirely from twisted wire is based on a traditional Chinese landscape, and that to walk between the forms is to enter the ancient Walkthrough of AGNSW Biennale painting. The shadows of this sculpture on the Asian Exhibits wall resemble the painting as well. Thursday 6 September, 10.15 to 11.45 am: Dr Chye Lim Hong will be conducting a special Not every work of every artist may equally walkthrough of Asian artists’ exhibits in the appeal, but at the White Rabbit it can be said that Biennale at the AGNSW for TAASA members. every piece is thought provoking, amusing, $20 including coffee/tea at the AGNSW sometimes head spinning, expanding the Café from 10.15-10.45 am. Numbers limited. Bookings: visitor’s vision and understanding in one way Hwei-fen Cheah on 0430 585 208 or email: [email protected] or another. Never do I smile as much as at the White Rabbit. There is frequent reference to We gathered afterwards for delicious TAASA Textile Study Group classic calligraphy in this exhibition: brush dumplings and a wide variety of delicate teas, Wednesday 12 September, 6 – 8pm: stroke styles are rendered in a modern but and my secret favourite, some cheesy biscuits Illustrated talk: Batik Design from Traditional recognizable way, connecting the extremely made from a family recipe of the founder, to Contemporary, from Craft to Art by Thienny contemporary with the richness of the past. A Judith Neilson. A lovely day enjoyed by all! Lee. Thienny is a scholar and artist from display of metal tools turns out to be carved Malaysia who is currently undertaking a PhD from granite, beautiful! on the visual identity and dress construction of Straits Chinese in British Malaya in the 19th and 20th centuries. d r M I CH A E l B r a N D Venue: Curatorial Café, Powerhouse Museum, Sydney (enter via Macarthur Jill Sykes Street). $5 members; $10 non members. Light supper served. RSVP by Saturday, 8 September to: Dr Michael Brand’s appointment as [email protected] director of the Art Gallery of NSW has been celebrated and commended in Australia Floor Talk: Regeneration & transformation and overseas. TAASA members might of Asian Art at the NGV, Melbourne consider themselves especially pleased Saturday 27 Oct, 2–4pm since he began his career in the visual arts The redesigned Asian Galleries at the as an Asian specialist. National Gallery of Victoria are opening in October and TAASA members are invited to Australian-born Brand, 54, did his thesis an exclusive walkthrough. The permanent for his PhD in art history from Harvard collection galleries on the first floor have University on pre-Mughal Indian His achievements there included been extensively refurbished and many new architecture; he was curator of Asian art resolving claims by Italy and Greece for acquisitions will be on display alongside at the National Gallery of Australia from the restitution of antiquities, bringing favourite iconic works from the Asian collection. Please join the Asian curators for a 1988 to 1996; and as assistant director at contemporary and non-Western art into walkthrough, followed by afternoon tea. the Queensland Art Gallery between 1996 the museum’s programs and creating its Guests are also welcome. and 2000, he led the development of its centre for photographs. $20 TAASA Members; $24 Guests (includes renowned collection of Asia-Pacific art. His afternoon tea) wife, Tina Gomes Brand, whom he met in his Arriving in the AGNSW director’s office Meet: Information Desk, Ground Level, NGV late in June, he has, at the time of writing, hometown, Canberra, was born in Malaysia International with an Indian family background. maintained his position that he is not going Code: P12160; NGV Bookings: 8662 1555 to make major decisions or announcements But there is no way anyone should, or until he has had time to get to know the TAASA Canberra Event could, pigeonhole Brand into a particular Gallery, its staff and its context. Saturday 3 November cultural or geographical area of art. In An expert guided walkthrough has been interviews after his appointment, he has “I think it’s reasonable to expect great organised for two exhibitions in Canberra: talked enthusiastically about American things from him,” the director of New Divine Worlds: Indian Paintings at the and Latin American art, and the arts of York’s Museum of Modern Art, Glenn NGA and Go Figure! Contemporary Chinese Islamic civilisations which have most Lowry, was quoted in The Australian Portraiture at the National Portrait Gallery. recently been his focus as consulting Financial Review. “He’s an extraordinarily Enquiries to Charlotte Galloway at: director of the Aga Khan Museum under talented, driven, thoughtful individual [email protected]. Further construction in Toronto. who’ll give the Gallery his all.” details will be provided closer to the date.

From 2005 to 2010, he was director of the Jill Sykes is editor of Look magazine, Art Gallery TAASA End of Year Party J. Paul Getty Museum in Los Angeles. Society of NSW. TAASA’s end of year party will be held on Thursday 29 November at 6pm. Venue is still to be finalised, but please put this date in your diary.

TAASA REVIE W VOLUME 21 NO.3 29 WH a t ’S o N i N a US t r a l i a a N d o VE R SE A S: SEPTEMBER - NOVEMBER 2012 A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS

Compiled by Tina Burge

ACT Arts of Asia Lectures - Semester II More than 170 artefacts from the Art Gallery of New South Wales British Museum reveal many aspects of Divine worlds: Indian paintings to October 2012 Mesopotamian culture, from massive carved National Gallery of Australia, Canberra stone reliefs depicting scenes of battles and 1 September – 11 November 2012 The subject of Love continues to be explored in hunting to gold jewellery. the Tuesday lectures at AGNSW. In September, Divine worlds brings together paintings from themes such as The Tales of Ise in For further information go to: the NGA’s Indian collection, including recent and Chinese Scholars’ obsession with rocks are museumvictoria.com.au/melbournemuseum acquisitions. Dating from the 16th to the 20th some examples in this popular lecture series. century, the paintings range from exquisite intimate miniatures to vast hunting scenes, For further information go to: monumental pilgrimage maps and brilliantly www.artgallery.nsw.gov.au/calendar/arts- coloured devotional shrine hangings. asia-lecture-2012 A number of lectures and a series of films are planned for the exhibition including Alexander the Great: 2000 years an overview of the exhibition by Melanie of Treasures Eastburn, curator of the exhibition and Curator, Australian Museum, Sydney Asian Art on 11 September at 12.45pm. 24 November 2012 - 28 April 2013

There will be an Indian Dance Performance This exhibition features the largest collection on 15 September at 7.00pm and a series of of treasures ever to come to Australia from GOLD CUP FOUND IN THE DEATH PIT OF THE ROYAL programs for children and members. the State Hermitage in St Petersburg, Russia. TOMB OF QUEEN PUABI OF UR, C.2500 BC. BY PERMISSION

Exclusive to Sydney, the exhibition includes OF THE TRUSTEES OF THE BRITISH MUSEUM For more information about events, over 400 objects from classical antiquity venues, prices and bookings go to: through to the modern age from both Asian Galleries - Re-opening www.nga.gov.au/divineworlds Western and Non-Western origins, spanning National Gallery of Victoria, International, Melbourne a period of almost 2500 years. October 2012 Go Figure! Contemporary Chinese Portraiture National Portrait Gallery For further information go to: In October the NGVI will open the renovated 13 September 2012 – 17 February 2013 www.alexandersydney.com.au and expanded Asian Galleries. The collection covers the arts of East Asia, South and Curated by Dr Claire Roberts, 55 works have Go Figure! Contemporary Chinese Portraiture Southeast Asia from the second millennium been drawn from the Uli Sigg collection, Sherman Contemporary Art Foundation BC to the 21st century. Media represented acknowledged as one of the largest and 15 September – 1 December 2012 include paintings, calligraphy, prints, bronzes, most significant collections of contemporary sculptures, ceramics, lacquer, jade, glass, in the world. 1,463 artworks from See details under National Portrait Gallery. furniture and textiles, video. The Asian this collection have been donated to Hong SCAF’s exhibition will draw on different galleries will now comprise ‘The Art of China’, Kong’s M+ Museum, which will open in 2017. works from the same contemporary Chinese ‘The Art of South and Southeast Asia’, ‘The art collection. Art of Japan’ and ‘Special Asian Exhibitions’. NSW VICTORIA A series of events will celebrate the Nippon Jin re-opening including a TAASA Members' Japan Foundation, Sydney The Wonders of Ancient Mesopotamia exclusive introduction and viewing of the 31 August - 28 September 2012 Melbourne Museum, Melbourne Asian Galleries on 27 October, 2- 4pm. 4 May - 7 October 2012 In a series of portraits, photographer Junichi Senior Curator Asian Art, Mae Anna Pang, Takahashi explores the subtle difference The Wonders of Ancient Mesopotamia focuses will give an introduction to the new Chinese between “Japanese as seen by the rest of the on three of the great centres of ancient Gallery on 17 October at 12.30pm and on 21 world” and “Japanese as seen by the Japanese civilisation – Sumer, Assyria and Babylon October at 2.00pm she will give a talk on the in Japan”. The exhibition also includes photos – bringing their rich history to life through arts of Chinese emperors and scholars. from the disaster affected areas of Japan. objects and multimedia. Themes in the exhibition include palaces and royal power, For further information go to: religious beliefs and rituals, burial practices www.jpf.org.au and royal tombs, and the myths and legends that surround ancient Mesopotamia.

30 TAASA REVIE W VOLUME 21 NO.3 Jompet Kuswidananto and Eko Nugroho the school's most prominent proponents, this National Gallery of Victoria International, Melbourne two-part presentation traces the development 18 October 2012 - 12 May 2013 of the Rinpa aesthetic and demonstrates how its style continued to influence artists Jompet Kuswidananto and Eko Nugroho throughout the 19th and 20th centuries. are members of the art community in Yogyakarta, Indonesia. Jompet is an Chinese Gardens - Pavilions, Studios, installation artist, while Nugroho works Retreats across diverse media; and together they Metropolitan Museum of Art, New York create paintings, murals and handmade 18 August 2012 - 6 January 2013 comic books, contemporary updates of the tradition of shadow puppet theatre, and This exhibition explores the rich interactions collaborations with local craftspeople to between pictorial and garden arts in China produce embroideries. across more than one thousand years. On display are more than 60 paintings as well A series of events include a floor talk by as ceramics, carved bamboo, lacquerware, Kelly Gellatly, Senior Curator, Contemporary metalwork, textiles and several contemporary Australian Art, NGV on 13 October at 11am. photographs, all drawn from the Metropolitan The artists will also talk on 13 October at Museum's permanent collections. 12.30pm and 2.00pm. For more information go to: Organising study tours since 1989. Australia’s For further information go to: www.metmuseum.org oldest independent study tour company. www.ngv.vic.gov.au Whether you want to study textiles in Laos or India, discover ethnic minorities in remote Viet THAILAND Nam or North Eastern India, if you seek to uncover INTERNATIONAL the cultural complexities of the Caucasus, China, Queen Sirikit Museum of Textiles, Bangkok Central Asia or Iran USA Ongoing

TEXTILES AND MORE 2012 Enlightened Beings: Buddhism in Chinese A new museum in the Royal Palace enclosure During 2012 Alumni Travel is offering a number of textile based Painting in Bangkok has opened to exhibit the costumes tours, which of course explore other aspects of the cultures and Freer Gallery of Art, Washington of Her Majesty Queen Sirikit. Different exhibits communities in which the textiles flourish. 1 September 2012 – 24 February 2013 include Her Majesty’s designer ensembles made from hand-woven textiles produced by Carole Douglas has a 2 part tour India: Stitches in Time This exhibition focuses on the four main members of SUPPORT, Her Majesty’s charity which travels across the subcontinent from Mumbai to Lucknow categories of enlightened beings: the Buddha, dedicated to preserving Thai village weaving. (18 Oct – 8 Nov and 11 Nov – 1 Dec) , luohans and eccentric Chan Another exhibit tells the story of the creation Gay Spies takes her annual tour, Laos: Textiles and other monks and lineage masters. 14 of the 27 in the 1960s of a new national dress for Thai Treasures (25 Nov-18 Dec 2012), which will include the That Luang Festival. The group size is limited to 8. works date to the Song, Yuan and early women through the presentation of historic Ming dynasties. court textiles, archival photographs and film Rob Lovell explores cultural events in North East India including and more than 30 examples from the Queen’s in the Nagaland Hornbill Festival (20 Nov – 5 Dec) The Allure of Japan personal collection. Steve McHardy visits Nepal, Bhutan and Sikkim (01-17 Dec), Boston Museum of Fine Arts three nations squeezed between the great powers of China 24 March – 31 December 2012 For more information go to: and India. queensirikitmuseumoftextiles.org AND IN EARLY 2013 A fascination for all things Japanese swept Brian Brennan explores the new Tunisia and Algeria (4 - 23 the United States in the period around 1900. SINGAPORE Feb). Join Terry Bisley in Burma (11 Feb – 01 Mar). For new An influx of Japanese goods and emissaries insights try Simon Gentry’s Japan: Through the Torii Gate into America sparked a wave of interest in a Treasures of the Aga Khan Museum: (8 - 27 April) or Frances Brown guiding you through Classic Iran foreign culture once seen as impossibly remote. Architecture in Islamic Arts (13 Apr – 08 May). And Rob Lovell’s Remote and Rural This cultural moment is celebrated with a Asian Civilisations Museum Viet Nam (27 April – 17 May) visits the Khau Vai Love Market. rich display of rarely exhibited American 19 July 2012 - 28 October 2012 Lots more later in the year including Ethiopia, Turkey prints, posters, watercolors, and decorative (east and west), Regional Japan, and Morocco arts complemented by a selection from the The exhibition includes pieces from the Check out our new website for details of these tours Museum’s renowned Japanese collections. collection of Prince Karim Aga Khan IV, and lots more at www.alumnitravel.com.au. spiritual leader of the Ismaili Muslim Designing Nature: The Rinpa Aesthetic community, covering Iran, India, Turkey, Syria, in Japanese Art For a brochure on any of the above tours, Spain and Egypt, over a thousand year time or to receive our quarterly newsletter Metropolitan Museum of Art span. It considers both religious and secular Bon Voyage, please phone: May 26, 2012–January 13, 2013 concepts of space and contextual photographs (02) 9290 3856 or 1300 799 887 serve as a background to artistic works. (outside Sydney metrop.), fax: (02) 9290 3857, The exhibition features more than 100 e-mail: [email protected]; brilliantly executed works of art created in For further information go to: www.alumnitravel.com.au Japan by the Rinpa-school artists. Highlighting www.acm.org.sg

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