... boat is the act of collecting pieces for display and appraisal—an act akin to modern curatorial discernment. The selection of works that accompanied the patron onboard became an expressive medium. The painting-and-calligraphy boat also privileged a sense of fortuity. Chance encounters and spontaneous...

... connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations...

... on the fundamental irrelevance of all media save the mind itself. Such a notion points to the need to develop a specifically Buddhist theory of images, media, and minds. Copyright © 2018 Asia Society 2018 Yuanjuedong repentance Zongmi medium Belting image anthropology Unlike the cave shrines...

... of Americans asso- The medium of the woodblock print is defined by ciated with the US military at this time, a small prewar the carving of a panel of wood to serve as the matrix coterie of modernist woodblock printmakers who had that is inked and then impressed onto a sheet of paper often pictured urban...

.... Accustomed to works that conformed to prevailing Beginning in the late 1940s, Lee participated in expectations surrounding a particular medium, Korean the design and fabrication of commemorative statues, critics in the 1960s and 1970s rarely mentioned Lee’s many of which were directly commissioned...

... more difficult with a medium that testifies, in the most basic sense, to a physical presence. In painting an image could come to fruition without its represented object ever having existed, whereas in photography the causal relationship is inherent. A sign or imprint indicating physical causation...

.... The renewal and theorization of Chinese ink painting of this period centered its discussions on style and form more than subject choices. In their inscriptions, Jin Cheng and Chen Shizeng demonstrated that medium, rather than content, was the message in the campaign to reinvigorate Chinese art and understood...

... pictures. The current obscurity of the medium had taken root in China, speculating that the reverse glass paintings, together with their general omis- techniques might have been introduced there by Jesuit sion from the standard histories of art, owes much to missionaries.6 Modern accounts are no less...

..., uncertain about the limitations of this medium. Yet, in other places in the same composition (Painting 26), he masterfully used different brush techniques to capture the stippled texture of foliage behind the temple and soft washes of color to suggest a mountain in the distance. Lopez suggests different...

... of later times.3 distant history of this medium; the scholarly engage- Jerome Silbergeld ment, unusual in our field, with ‘‘second-class paintings’’ Princeton, February 2012 (the author’s own term for those...

... to the Shigushan armor, likely acquired paint on its surface because it was a translation into bronze of a vessel of another medium. Based on current evidence, however, the Yejiashan bronze hu does not seem to have initiated a tradition of decorating the surface of the bronze with brushed-on lacquer paint...

...- ˙ meaningfully adapted it. The Scindia chatrı¯s present the polis in the former Rajput state of Bikaner in present- dynasty as politically legitimate through a recognizably day Rajasthan. These examples are typical of the Rajput royal medium, but one that the Scindia patrons trans- cenotaphs, although...

... unparalleled since the Renaissance.” 2 Well into the twenty-first century, however, this daring appraisal begins to seem modest. Given the predominance of North Atlantic modernity within “global” late capitalism, the repercussions of collage now extend well beyond the medium of painting and far outside...

... to the modern European public gallery. Such a strategic de- and recontextualization of viewing practices belied a concern with the aesthetic specificity of medium and its ideological underpinnings. In his report on the exhibition, the painter Yokoyama Taikan 横山大観—the leading artist in the delegation...

... and poetry. Thus his bluffs and towering pine trees.All around, precipitous peaks handscroll reflected a general dissolving of boundaries emerge and disappear in the mist, visually echoing the between various expressive mediums, as was characteris- emerging and disappearing of the twisting path. Further...

... expressive visual record of his travels but also because was also a traveler deploy his or her medium in the these images are further illuminated by a Japanese- pursuit of knowledge about strangers encountered in language autobiographical account of this journey that foreign places? And, after settling...

... in other mediums. The relationship between the Kerala sculptural idiom and historical developments in the per- Fig. 24. Urnit-Mahes'vara. loth-18th c. Kerala. Bronze; h. 19.1 cm. forming arts may also yield pertinent insights toward Collection...

... of the stone. At the same time, despite all of the planarity that the imagery's carving style implies, it clearly remains a work of stone carving or sculpture. The resulting ambiguity of the medium—that is, the imagery's intermediality—mirrored the pivotal location of Juyong Gate within the Yuan empire's...

... on the right to form the the mediums and settings in which they occur, I shall character lu. This conceit is identical to Design C on pursue the following questions: Why was it only the Jiajing official porcelains. It is also common on Jiajing character shou that was portrayed as a visible emana- official...

..., Caron. Grotenhuis;Weinstein;Wheelwright 1985. Ritual Objects (Bronze and Other Mediums) Bagley 1990, 1993; Bulling and Drew; Bunker 1963; Cahill, Suzanne; Ceramics Cammann 1955; Cheng...