Search Results for Art after Disaster

.... Copyright © 2019 Asia Society 2019 WAWA Project Masato Nakamura 中村政人 3.11 Great East Japan Earthquake Community Art Relational Aesthetics Art after Disaster On March 11, 2011, the Tōhoku area in northeast Japan was hit by an unprecedented triple disaster: the “Great East Japan Earthquake...

.... After serving in the Yuyongjian 182 ARCHIVES OF ASIAN ART for a period of time, he received his first official title of as imperial guard for Zhu Qiyu (the future Jingtai em- Jinyizhengqianhu (Battalion Commander of peror) when Zhu Qiyu was still the Prince of Cheng in the Embroidered...

... to be an environmentalist desire underlying the Okonomiyaki project—to clean up the beach by removing plastic pollution and turning it into art. In the late interview quoted at the outset of this discussion of Tonoshiki's burning, after reflecting that his career started out of the need of a victim ( higaisha...

.... That may be part of the reason why Yashiro accepts Like Yashiro, Faure believes that any study of Buddhist Ho¯ gai’s Kannon as Compassionate Mother as a work of art must take into account religious and phenomeno- modern art but rejects it as a Buddhist painting. After...

...): 64. Museum, Ohio State University. 238 ARCHIVES OF ASIAN ART 75. See Kinoshita’s 1960 print Kao (Saigai) / Faces national Biennial), Yomiuri Shinbun (July 2, (Disaster), illustrated in Donald Jenkins, Images of a 1957), reprinted in Takiguchi...

... Thought Propaganda Teams 2 ARCHIVES OF ASIAN ART lenge to the established authority.2 Students took to the haustible source of strength and a spiritual atom bomb streets. of infinite power4 they filed onto the campus. In the From the beginning...

... of the viewer. The rather stylized, almost caricature-like art. In the article Mukai published after his return from depiction of the soldiers may reflect in part the lingering China in August 1938, he explained the intent behind...

..., and Balkrishna Patel—founded the short- his position on adivasi art and his evolving conceptual- lived Group 1890, named simply after the house number ization of indigeneity. This entails a closer examination of J. Pandya in Bhavanagar, Gujarat, the location of their of Swaminathan’s earlier career...

..., but after the outbreak of the Korean War in porary art from the end of the Korean War to the mid- 1950 he soon fled to the South, where he joined the 1960s, the Kukcho˘ n and its juries defined sculpture as South Korean army. After the war came to a provisional discrete stone or metal objects mounted...

... in Jiangnan literature and art by the eighteenth century, with many scholars and artists leading dual lives in both Jiangnan and Beijing, it was the flowering of this native species within the court context that raised cries of sedition. It was not until 1778, after all of the works considered here had been...

... in the Muro-ji section is Genroku 14 Art: Through the Eyes of Duan Wenjie, ed. Dan Zhong (New Delhi: Indira (I701) and a note in the margin of this section is dated Genroku 15 Gandhi National Centre for Arts, Abhinav Publications, 1994), p. 302. (1702), indicating that the note was added after the main...

... and portraits of colonial subjects in warm pastels. However, his work underwent a brusque transformation in the postwar period. He turned toward abstraction in 1950 after relocating to New York, where he came into contact with abstract expressionism and what later became known as color field painting. Art...

.... Ebrey, “Economic and Social History of Later Han,” 643–48 . 91. Powers, Art and Political Expression , 2–9, 97–110 . 92. Wu, Art of the Yellow Springs , 85–99 . Works Cited Ban Gu 班固 . Hanshu 漢書 [ History of the Former Han ]. Beijing : Zhonghua shuju , 1962 . Chen...

... at Ramgarh and the Meguti Temple at Aihole” ; F. Asher, Art of Eastern India , 38–42 ; Williams, Art of Gupta India , 166–68 ; Meister, “Muṇḍeśvarī: Ambiguity and Certainty,” 77; Deva, “Mundeswari Temple, Ramgarh” ; Deva, “Rāmgaḍh, Muṇḍeśvarī Temple” ; Neuss, “Temple of Muṇḍeśvarī,” 543. 2...

.... Handscroll; ink and color on paper, 23.2 × 92.7 cm. Metropolitan Museum of Art, ex coll.: C. C. Wang Family, Gift of The Dillon Fund, 1973 (1973.120.6). Artwork in the public domain. www.metmuseum.org. Figure 2. After Qian Xuan, Wang Xizhi Watching Geese. Handscroll; ink and color on paper, 24.7...

..., Beijing. By author. 44 ARCHIVES OF ASIAN ART images that complemented the contents of the other the early seventh century. At present it is the only one caves completed not long afterward. There is every indi- out of nine caves at Shijing Mountain that is furnished cation that all the early...

... of historical records regarding the majority of the cave-temples along with the lack of lighting within the caves themselves has caused some scholars to question whether the caves were viewed at all after the murals were completed. For more on this debate, see Sharf, “Art in the Dark” ; and Howard, “On ‘Art...

... Sichuan has also Fig. 1. Map of Sichuan. Drawn by author. 52 ARCHIVES OF ASIAN ART Fig. 2. Map of Southeastern Sichuan. Drawn by author. become known as a great repository of artistic and ar- clusters of rupestral sites dated to the Tang and after cheological treasures from China’s...

... 5. Jin Chushi (Chinese, active late twelfth c.), King Enma , before 1195. One from a set of ten hanging scrolls depicting the Ten Kings of Hell, ink and color on silk, 129.5 × 49.5 cm. The Metropolitan Museum of Art, Rogers Fund, 1930 (30.76.293). Artwork in public domain. Photograph...