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Journal Article
Archives of Asian Art (2020) 70 (2): 199–224.
Published: 01 October 2020
...Jie Shi Abstract Dated to 524 ce , the lavishly carved stone sarcophagus of the Northern Wei Prince Yuan Mi exemplifies an early Chinese method using a diagonal gaze as a visual device to construct a three-dimensional space. On the exterior faces of the sarcophagus, the anonymous artist simulated...
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Journal Article
Archives of Asian Art (2022) 72 (1): 97–127.
Published: 01 April 2022
... of colonial photographic conventions to subvert the imperial gaze. Combining a reclamation of female authors' voices, including those of Katherine Carl, Sarah Pike Conger, Yu Derling, and Yu Rongling, with close visual analyses of select photographs placed within particular political, historical...
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Journal Article
Archives of Asian Art (2017) 67 (2): 143–187.
Published: 01 October 2017
... with contemporaneous recognition of the potential for consecrated works of art to provide direct contact with the deity depicted. By eliminating framing and boundaries between scenes, minimizing inscriptions, employing the gaze to foster internal and external coherence, and using detailing, highlighting...
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Journal Article
Archives of Asian Art (2024) 74 (1): 1–36.
Published: 01 April 2024
... by the Metropolitan Museum of Art, New York; Figure 1 ). Two more versions of this depiction of a waterside pavilion in which a figure stands and gazes afar toward distant blue and green mountains exist in the collection of the National Palace Museum in Taipei. 1 One is a full copy in color titled Scroll...
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Journal Article
Archives of Asian Art (2021) 71 (2): 243–268.
Published: 01 October 2021
... emphasized throughout the paintings above the inscriptions. The frontally presented depictions of the central Tathāgata, the four-armed Vajrapāṇi, and the two Avalokiteśvara images all gaze out at viewers, available to reciprocate eye contact. The mutual exchange of gaze that is understood to occur in South...
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Journal Article
Archives of Asian Art (2001) 52 (1): 11–43.
Published: 01 April 2001
... in retirement. As he wrote in another
ing, drinking, freedom, the countryside, the simple life. poem, "Again and again I gaze into the distance; / Born
These came to be the central ideals of elite private cul- into the midst of this dream-illusion3 Although many
ture in China, and Tao was thought...
Journal Article
Archives of Asian Art (2017) 67 (1): 25–59.
Published: 01 April 2017
... suggest a woman artist, is so surprising a signature that the question of authorship had best be left open for now. Inscription and gaze invest the portrait with a trenchant presence by doubly reifying the artist in new ways. Figure 6. Inscribed to “usta dadinani” (inscription is not entirely...
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Journal Article
Archives of Asian Art (2003) 53 (1): 54–70.
Published: 01 April 2003
... of the outward gaze. A reit- hill kingdoms of north India. In its central placement and
eration of norms need have no subversive agenda but, as symbolic simplicity the huqqa reflects the hierarchical
further examples will show, her representations repeatedly relation between the two rulers. Standing...
Journal Article
Archives of Asian Art (2014) 64 (2): 165–190.
Published: 01 October 2014
... a distinctive visual dimension as well, con- ing, and contested perspectives, in this case perspectives
stituting a regime of visuality through which the human toward representations of animals—that were, through
gaze toward the animal was regulated, and likewise, the Liu’s paint brush, scientifically modern...
Journal Article
Archives of Asian Art (2020) 70 (2): 119–149.
Published: 01 October 2020
... Prefectural Museum of Art (Kimura Teizō Collection). Photograph: courtesy of the Aichi Prefectural Museum of Art. These conceptions of self and representation that underlie literati art create a closed system of signification. Within this framework, the viewer's gaze is returned again and again...
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Journal Article
Archives of Asian Art (2012) 62 (1): 7–24.
Published: 01 April 2012
... this: the (no. 3, Li Zai, Fig. 4; no. 13, He Cheng, Fig. 5; no. 15,
artists painted, more or less autonomously, whatever Xie Huan [act. ca. 1425–1470], Fig. 3); sketchy river
subjects and in whatever styles suited their moods and landscapes with men in boats or on the shore gazing at
creative urges. If they did...
Journal Article
Archives of Asian Art (2011) 61 (1): 37–60.
Published: 01 April 2011
...,
face, and background, his straightforward gaze, accen-
tuated with white pigment on the eyes, and the white
teeth showing in the open mouth (which may indicate...
Journal Article
Archives of Asian Art (2018) 68 (2): 111–132.
Published: 01 October 2018
..., lifting that which was deeply familiar, intimately known, and proximately observed, and making it over into art. The Bombay painters and poets rejected nationalist myths and ideals (Mother India, Five-Year Plans) and their objects (farmers, folk festivals), and turned their gaze to the space of the city...
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Journal Article
Archives of Asian Art (2009) 59 (1): 1–5.
Published: 01 April 2009
...¯nical goddess temple to Jaina wor- [the past16 Rather than the previous exclusive gaze
ship.13 The majority of studies, however, continue to on the clash of ‘‘Muslim’’ and ‘‘Hindu’’ cultures, Davis
focus on the larger motivations behind and details of brought under scrutiny the political acts...
Journal Article
Archives of Asian Art (2021) 71 (2): 219–241.
Published: 01 October 2021
..., Aditya . Nectar Gaze and Poison Breath: An Analysis and Translation of the Rajasthani Oral Narrative of Devnārāyaṇ . New York : Oxford University Press , 2005 . Masselos, Jim . “ Bombay Time .” In Intersections: Socio-cultural Trends in Maharastra , edited by Meera Kosambi , 161 – 86...
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Journal Article
Archives of Asian Art (2018) 68 (2): 191–214.
Published: 01 October 2018
... subject. Accordingly, this article seeks to illuminate unnoticed aspects of the way in which Bushell wrote Chinese Art , and of the book's subsequent appropriation in China. For the convenience of analysis, the “Orientalist gaze” highlighted in this article is confined to representations...
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View articletitled, Stealing Words, Transplanting Images: Stephen Bushell and the Intercultural Articulation of “Chinese Art” in the Early Twentieth Century
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for article titled, Stealing Words, Transplanting Images: Stephen Bushell and the Intercultural Articulation of “Chinese Art” in the Early Twentieth Century
Journal Article
Archives of Asian Art (2013) 63 (1): 1–25.
Published: 01 April 2013
... in the middle).
seems to be gazing at the other figures. His entire body
is pale blue, set off by the contrasting thin reddish loin-
cloth. The figure at the far right, also pale blue and no indication of fleshy volume except their ears, appear
wearing only a loincloth, squats on the ground with skeletal...
Journal Article
Archives of Asian Art (2006) 56 (1): 61–80.
Published: 01 April 2006
... of figures carved on the south Ananda, who will in turn pass it on. Ananda looks over
wall immediately inside the entrance carries a table bear- his left shoulder to Mahaka'syapa, who gazes back at
ing what appears to be a heavily stylized and eroded him meaningfully. MahakaSyapa offers the lotus...
Journal Article
Archives of Asian Art (2007) 57 (1): 23–49.
Published: 01 April 2007
... and frontal mand. Three women to her right carry, respectively, a
gaze enhance his visual prominence. This ‘‘funerary por- large round fan, a parasol, and a feathered plume, while
trait’’ resituates an iconographic trope from such Han three more slender and delicate girls to her left, with
models...
Journal Article
Archives of Asian Art (2015) 65 (1-2): 1–24.
Published: 01 October 2015
... look with a soft focus and gentle atmo sphere, as repre
has also sometimes been taken as collab o rat ing with an sented by the works of Henry Peach Robinson (1830–
Orientalist gaze from the West.12 Moreover, Lang has 1891), Edward Steichen (1879–1973), and others. The
been...
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