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A New Date for the Phnom Da Images and Its Implications for Early Cambodia
A New Date for the Phnom Da Images and Its Implications for Early Cambodia NANCY H. DOWLING SCHOLARS FAMILIAR WITH SOUTHEAST ASIAN ART HISTORY are well aware of a confusing chronology for early Cambodian sculpture. One reason for this situa tion is obvious. For nearly fifty years, Cambodian art history has been wed to the work of George Coedes. Praised as the dean of Southeast Asian history, he was a member of an elite group of French scholars who worked in Cambodia for decades before World War II. In 1944, he wrote Histoire ancienne des hats hindouses d'Extreme-Orient, in which he established a chronological framework for early Southeast Asian history based on an interplay of Chinese texts and indigenous inscriptions. Most Southeast Asian historians readily admit that "his book remains the basic source for early South East Asian history, and while much recent re search, based upon new inscriptional evidence or re-readings, modifies some of Coedes' specific conclusions, the structure remains his" (Brown 1996: 3). Such a singular dependency on Coedes had a stifling effect on Cambodian art history. When Jean Boisselier, carrying on the work of Philippe Stern and Gilberte de Coral-Remusat, made a comprehensive attempt to set in order Cambodian sculpture, the French art historian fitted the works of art into Coedes' ready made chronology. Unfortunately, this all happened as if it were preferable to adjust Cambodian sculpture to a preconceived notion of history rather than ques tioning the model. In this way, some basic mistakes have been made, and these seriously affect the chronology and interpretation of early Cambodian sculpture. -
Culture & History Story of Cambodia
CHAM CULTURE & HISTORY STORY OF CAMBODIA FARINA SO, VANNARA ORN - DOCUMENTATION CENTER OF CAMBODIA R KILLEAN, R HICKEY, L MOFFETT, D VIEJO-ROSE CHAM CULTURE & HISTORY STORYﺷﻤﺲ ISBN-13: 978-99950-60-28-2 OF CAMBODIA R Killean, R Hickey, L Moffett, D Viejo-Rose Farina So, Vannara Orn - 1 - Documentation Center of Cambodia ζរចងាំ និង យុត្ិធម៌ Memory & Justice មជ䮈មណ䮌លឯក羶រកម្宻ᾶ DOCUMENTATION CENTER OF CAMBODIA (DC-CAM) Villa No. 66, Preah Sihanouk Boulevard Phnom Penh, 12000 Cambodia Tel.: + 855 (23) 211-875 Fax.: + 855 (23) 210-358 E-mail: [email protected] CHAM CULTURE AND HISTORY STORY R Killean, R Hickey, L Moffett, D Viejo-Rose Farina So, Vannara Orn 1. Cambodia—Law—Human Rights 2. Cambodia—Politics and Government 3. Cambodia—History Funding for this project was provided by the UK Arts & Humanities Research Council: ‘Restoring Cultural Property and Communities After Conflict’ (project reference AH/P007929/1). DC-Cam receives generous support from the US Agency for International Development (USAID). The views expressed in this book are the points of view of the authors only. Include here a copyright statement about the photos used in the booklet. The ones sent by Belfast were from Creative Commons, or were from the authors, except where indicated. Copyright © 2018 by R Killean, R Hickey, L Moffett, D Viejo-Rose & the Documentation Center of Cambodia. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. -
The Origin and Significance of the Emerald Buddha
The Origin and Significance of the Emerald Buddha Explorations in Southeast Asian Studies A Journal of the Southeast Asian Studies Student Association Vol 3 Fall 1999 Contents Article 1 Article 2 Article 3 Article 4 The Origin and Significance of the Emerald Buddha Eric Roeder >Eric Roeder is an M.A. candidate in the department of Asian Studies at the University of Hawaii at Manoa. he is spending the 1999-2000 academic year examining the educational opportunities for the physical handicapped within Thailand Notes The Emerald Buddha is known as 'the palladium of Thai society'. Located on the grounds of the Grand Palace and situated within Wat Phra Keo, The Emerald Buddha watches over the Thai nation. Yet the image's history continues to reveal very little. Fable, myth, legend and fact intermingle, creating a morass for those who study the Emerald Buddha. While the Buddha is often mentioned in texts about Thailand, surprisingly little is written about it in great length. Beyond the image's origins in documented history, the Emerald Buddha has traveled widely. This paper will look at the mythical origins of the Emerald Buddha as recorded in The Chronicle of the Emerald Buddha and other sources, then trace its history in Thailand beginning from its first appearance in the town of Chieng Rai. Upon its discovery in Chieng Rai, the Emerald Buddha became much coveted. The image moved throughout the region, from Chieng Rai to Lampang, Chieng Mai, Luang Prabang, Vientiane, Thonburi, and finally, to its present location in Bangkok. More than just a spoil of battle, the Emerald Buddha was believed to bring legitimacy and prosperity to all those who possess it. -
Prince Ol Art and History
Prince ol Art and History To many. he was known as Prince Suphat; to those in the diplomatic circle. "His Serene Highness••; and yet to others. the great art history teacher. Celebrated art historian Prince Subhodradis Diskul, who was director of SPA FA between I 987 and I 993. passed away on 6 November 2003 after suffering a strvlce. He was eighty years of age. Ean Lee reports. W •dely honoured and decorated for his contributions to Thai culture and world heritage, His Serene Highness is recognized as one of the Kingdom's most eminent art historians, as well as a Chevalier de la Legion d'Honneur by the French Government He was bestowed the Knight Grand Cross (First Class) of the Most Illustrious Order of Chula Chom Klao by His Majesty King Bhurnibol Adulyadej oi Thailand. Prince Suphat was born in Thailand on the 23rd of November 1923. His father, Prince Damrong Rajanubhab, grandson of King Monkut (Rama IV), is regarded as the "Father of Thai history". Prince Suphat became the first Thai to study art history and archaeology overseas. He took after his father, and was profoundly interested in those subjects, accumulating a deep knowledge and contributing immensely to Southeast Asian arts and culture. He began his career with the Education Ministry, after graduating from Chulalongkorn University in History and English and a diploma in Education (he was the only one from Vajiravudh College to go into the arts; his friends and classmates chose engineering). The restrictions and the occupation of Thailand by the Japanese during the Second World War did not allow him to continue his education abroad. -
Metropolitan Museum Studies in Art, Science, and Technology ◆ Volume 2 / 2014
Metropolitan Museum Studies in Art, Science, and Technology ◆ Volume 2 / 2014 THE METROPOLITAN MUSEUM OF ART, NEW YORK DISTRIBUTED BY YALE UNIVERSITY PRESS, NEW HAVEN AND LONDON Editorial Board Photographs of works in the Metropolitan Museum’s Silvia A. Centeno collection are by The Photograph Studio, The Metro politan Museum of Art, unless otherwise noted. Research Scientist, Department of Scientific Research Additional picture credits appear at the end of each Nora W. Kennedy article. Sherman Fairchild Conservator of Photographs, Department of Photographs Typeset in Warnock Pro Printed on 150 gsm Galaxi Matte Marijn Manuels Separations by Professional Graphics, Inc., Conservator, Sherman Fairchild Center for Rockford, Illinois Objects Conservation Printed and bound by Verona Libri, Verona, Italy Deborah Schorsch ◆ Conservator, Sherman Fairchild Center for Objects Conservation Cover illustrations: Saint Michael, lower right panel of the Richard E. Stone retable of Saint Anne with the Virgin and Child (1938.141d; Conservator Emeritus, Sherman Fairchild Center for Figure 5, page 74): (left), detail, photograph by Andrew Objects Conservation Winslow; (right) infrared reflectogram (Figure 19, page 80) Zhixin Jason Sun Frontispiece: Detail of Suzanne de Court, Mirror: Venus Curator, Department of Asian Art Mourning the Dead Adonis (1975.1.1236; Figure 3a, page 159) Mark T. Wypyski The Metropolitan Museum of Art endeavors to Research Scientist, Department of Scientific Research respect copyright in a manner consistent with its nonprofit educational mission. If you believe any material has been included in this publication This publication is made possible by gifts from improperly, please contact the Editorial Department. Ludmila Schwarzenberg Bidwell and her late husband Copyright © 2014 by The Metropolitan Museum of Carl B. -
Pierre Dupont's L'archéologie Mône De Dvāravatī and Its English Translation by Joyanto K. Sen, in Relation with Cont
Pierre Dupont’s L’archéologie mône de Dvāravatī and Its English Translation by Joyanto K. Sen, In Relation with Continuing Research Nicolas Revire To cite this version: Nicolas Revire. Pierre Dupont’s L’archéologie mône de Dvāravatī and Its English Translation by Joyanto K. Sen, In Relation with Continuing Research. Journal of the Siam Society, The Siam Society (Thailand), 2011, 99, pp.196-225. hal-00713316 HAL Id: hal-00713316 https://hal.archives-ouvertes.fr/hal-00713316 Submitted on 3 Jul 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 196 REVIEW ARTICLE Pierre Dupont’s L’archéologie mône de Dvāravatī and Its English Translation by Joyanto K. Sen, In Relation with Continuing Research Nicolas Revire L’archéologie mône de Dvāravatī was published in 1959 by the École française d’Extrême-Orient (EFEO; Dupont 1959), based on a draft left by the French archeologist Pierre Dupont who died in 1955 at the age of 47. It remains unrivalled in importance for all students of pre-Thai art and archeology1; that is, the period before the Tai kingdoms in Sukhothai, Chiang Mai, Lang Xang or Ayutthaya were established (ca. -
The EFEO and the Conservation of Champa Antiquities William Chapman
Chapman, W 2018 Adjuncts to Empire: The EFEO and the Conservation Bofulletin the History of Archaeology of Champa Antiquities. Bulletin of the History of Archaeology, 28(1): 1, pp. 1–12, DOI: https://doi.org/10.5334/bha-584 RESEARCH PAPER Adjuncts to Empire: The EFEO and the Conservation of Champa Antiquities William Chapman This paper examines the pivotal role of the École française d’Extrême-Oriente in the excavation, delineation, and interpretation of Champa sites in Vietnam. It further suggests the significance of this work in laying the groundwork for further archaeological efforts by the EFEO in Cambodia, Laos, and Northeast Thailand. The paper examines in detail the range of Champa sites, their relation to French scholarship of the early 20th century and their importance as training for later interventions. Introduction their conservation were a significant interest of EFEO Beginning as early as 1907, French scholars, architects, and scholars well into the twentieth century. archaeologists—together with a handful of colorful adven- Emulating Napoleon’s Egyptian expedition of a century turers—dedicated themselves to the clearing, interpreta- before, scholarship worked hand-in-hand with mili- tion, and eventual restoration (principally stabilization) tary, administrative, and economic expansion (Osborne of the great stone and brick monuments at Angkor. How 1969, 1999). Early explorations, such as that of Francis this venture transpired has been the subject of numerous Garnier (1839–1872), extolled the wonders of ancient histories -
The French Contribution to the Rediscovery of Dvāravatī Archaeology
1 The French Contribution to the Rediscovery of Dvāravatī Archaeology Laurent Hennequin A few generations of French scholars, in close association with their Siamese counterparts who played a leading role, unearthed the civilization of Dvāravatī, by that time all but forgotten. Their first investigations extended from the end of the 19th century to the beginning of the 20th, when French explorers from Cambodia started revealing to the world, and interpreting, what the Siamese had discovered in their territory. The second stage, in the 1920s, was personified by George Cœdès, who identified and named the characteristic Dvāravatī style of art, determined its chronological framework and its source of inspiration in Gupta India, and suggested its Mon provenance. The next generation, from the 1930s to the 1950s, was dominated by Pierre Dupont, who methodically studied Dvāravatī achievements in architecture and sculpture. During the 1950s and 1960s, Cœdès again became involved with the reading of inscriptions that confirmed his earlier hypotheses. The last Frenchman considered here is Jean Boisselier, whose investigations beginning in the 1960s led to the discovery of a pre-Dvāravatī civilization and the local origins of a Buddhist tradition that has been perpetuated to the present day in Thailand. The French contributed significantly, starting from the end of the 19th century, to the rediscovery of Dvāravatī civilization in its various aspects—whether epigraphy, archaeology, iconography, art history, Mon studies or the relevant Chinese texts. The contributions of other nationals cannot be dismissed; but as they are nearly always taken into account in French writings on the subject, the latter provide a sufficient overview and quite a complete introduction. -
New Light on Early Cambodian Buddhism
Nancy Dowling New Light on Early Cambodian Buddhism ur understanding of early Cambodian sculpture. Table 1 lists 64 pre-ninth-century 0 Buddhism is based on information gathered images or portions thereof of which 43 can be from two primary sources. These include the identified as either Buddhist or Hindu. Of these ancient textual materials as well as the artistic 43 images, 17 or 40 per cent are Buddhist of evidence itself. Of concern is the extent to which which nine are sufficiently complete for study scholars have relied on Chinese texts and with additional insights supplied by three other indigenous inscriptions with little appreciation for related images from the neighboring province of Buddhist imagery except as a "visual aid" in Kompong Speu. support of what has been already learned from In this study, I begin with a stylistic analysis the written texts. Such an approach is unneces of the 12 images of Buddha. Then I make a sarily limiting, resulting not from a lack of sources, morphological analysis to quantify differences but from scholarly preconceptions and interests in their body forms by taking measurements that ignore the richness of information ''written" directly from the images. I then establish relative in the art which surely demands the same kind of dates based on two datable patterns and a serious attention as is devoted to the written word. comparative analysis of other early Southeast This paper aims to shed new light on early Asian images. I conclude that early Cambodian Cambodian Buddhism by studying images of Buddhism is a short-lived phenomenon in Buddha, mainly from Angkor Borei, an ancient Angkor Borei. -
JSS 099 0R Reviews17
REVIEWS 339 de-emphasizing its Lao and Khmer Studies on the Art of Ancient Cambodia: antecedents. Therefore, this book Ten Articles by Jean Boisselier, tr. & comes as a very rare treat. Identifying ed. by NATASHA EILENBERG & ROBErt a forgotten artistry that is quickly lost L. BROWN (Phnom Penh: Reyum in assimilation, it gives lavish insight Publishing, 2008). ISBN 978 999 5055 and celebrates the sensational artistic 38 7 (soft) expression of the Isan people. The dominating indigo and its various shades Jean Boisselier (b. Paris 1912 – d. and tones illustrate the creativity of a Paris 1996) was arguably the 20th cen- community restricted to natural pigments tury’s preeminent scholar of mainland but yet seemingly unfettered. The Southeast Asia art history. Over the startling sense of liberation portrayed course of a long career that consisted by the ever-present sensuality will of various institutional affiliations, captivate the reader. Tempting them to including the Phnom Penh Museum scrutinize these erotic scenes invites (now the National Museum of Cam- the understanding of a community that bodia), the École française d’Extrême openly embraces their desires. Above Orient (EFEO), the Centre national all, the amalgamation of royals, deities de la recherche scientifique (CNRS), and peasants in one composition is a rare Silpakorn University, and the Univer- sight— impossible to be found in such sity of Paris-III, Boisselier generated a small compass anywhere in Thailand, prodigious body of erudite scholarship thus conveying the unique democratic predominantly on the art histories of lifestyle of the Isan heartland. Cambodia, Thailand, and the Cham of Even though the book design leaves Vietnam, much of which continues to much to be desired, the intention to set the standard today. -
SPAFA Digest 1988, Vol 9, No 2
bility of the capital. But when Angkor was captured by an enemy, whoever it might have been, the fall of the capital made evident the weakness of the system. It brought about the disappearance of Angkorian power. It was Jayavarman VII (1181 The (Symbolism A.D. - circa 1219) who tried to revive the glory of the system. He did it not by repairing the damage which had of Angkor Thorn been done, but by eradicating, even the slightest effects of a degrading defeat, by constructing a new power. Such power was still perfectly bound by Jean Boisselier to the ancient system and the kingdom became even more powerful and extensive than it had ever been before. To accomplish this true tour de force in a record period of time, Jayavarman VII did not try to restore I n 1177 A.D. the Cham army Khmer empire in the moral, religious what could not be spiritually revived captured the town of Angkor by and political aspects rather than in from its ruin. On the contrary, he surprise. In reality this event signified the material one. Hardly any traces of bypassed the Brahmanic traditions a renewed rivalry between the Khmer destruction attributable to that period which had thus far prevailed and and Cham kings for dynastic rights. can now be seen. The fall of Angkor developed a system that was entirely This rivalry dated back,-if not to the was actually much less significant new. To do so he relied only on time of Funan, at least, to the 7th than the fact that the king, who was Buddhist cosmology, especially on century following the accession of a usurper, was killed. -
Angkor Group
l l THE MONUMENTS OF THE ANGKOR GROUP by Maurice Glaize A translation from the 4th French edition. Synthesis should be made from time to time, so that writers may pass on the work of the specialists to a wider public. A. Maurois Dedicated to Henri PARMENTIER in admiration of his work. PREFACE TO THE 4TH FRENCH EDITION Published in 1944 in Saigon, republished in 1948 and again in Paris in 1963, for the "Angkor Group" - notably in the "rebirth" of Banteay Samre, for the sanctuary “The Monuments of the Angkor Group” by Maurice Glaize remains the most of Neak Pean, and the "resurrection" of the sanctuary of the Bakong. comprehensive of the guidebooks and the most easily accessible to a wide public, dedicated to one of the most fabled architectural ensembles in the world. It would, however, be unsatisfactory to simply republish a work written now some fifty years ago without some form of amendment. All manner of events have in In his preface to the first edition, Georges Cœdes (1886-1969), the the mean time intervened that impose necessary revision - although, in terms of the unchallenged master of Khmer studies and the then director of the École Française Author’s thoughts, those responsible have made the request that any alteration d'Extrême-Orient, wrote: should be as discrete as possible. These factors derive as much from the unhappy events resulting from ongoing political changes as from events directly affecting the "Maurice Glaize’s guide, more than a quarter of which is devoted to monuments themselves. On the one hand, there has been the abrupt and rapid fundamental ideas concerning the history of the country, its religions, the meaning decline, since 1945, in the state of some of the better known temples, such as the and evolution of the monuments, their architecture and their decoration, the Baphuon and Angkor Wat - symbolic of the highest achievement of Khmer classicism.