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Image
Published: 01 October 2017
Figure 25. Comparison of one unit of the Yiliangdi mirror ( top right ; see Figure 7 ) with unit D4 of the Guokeda M4 mirror ( top left ; see Figure 13 ). Unit E4 (bottom left) was rotated to the same orientation as well. Figure 25. Comparison of one unit of the Yiliangdi mirror (top right More
Image
Published: 01 October 2017
Figure 31. Two slanting-T main motifs cropped from the Yiliangdi mirror (see Figure 7 ) and the superimposition of the top motif over the bottom one. It is better to perform the cropping with this photo, to avoid distortion. Photograph: courtesy of the Yiyang Museum. Figure 31. Two slanting-T More
Image
Published: 01 October 2019
Figure 4. A scaled illustration of Daoxuan's diagram (see Figure 3) in bird's-eye view. Illustration: Ghichul Jung. Figure 4. A scaled illustration of Daoxuan's diagram (see Figure 3) in bird's-eye view. Illustration: Ghichul Jung. More
Journal Article
Archives of Asian Art (2021) 71 (2): 243–268.
Published: 01 October 2021
... inscriptions that explain the powers of seeing paintings. The murals combine and mix media—books, paintings, cloth—into expressive wholes that ultimately argue that walls are in fact much more than walls. The paintings find ways to make the temple's book collections more accessible. Here we find a public art...
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Journal Article
Archives of Asian Art (2021) 71 (1): 37–61.
Published: 01 April 2021
... and technical skill, most are overlooked as common fixtures inside bell towers at Buddhist temples across Asia. Yet the bell at Onoe Shrine has a particularly complex and fascinating story to tell. Using object biography as an approach to study this unusual monument enables us to see how this bell became...
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Image
Published: 01 October 2017
Figure 3. Iconographic layout of Akaniṣṭha Shrine. Numbers indicate main themes, letters indicate Life of the Buddha episodes. Drawing by Mel Keiser. For a detailed identification of the numbers and letters, see appendix . Figure 3. Iconographic layout of Akaniṣṭha Shrine. Numbers indicate More
Image
Published: 01 October 2017
Figure 22. Detail of the bottom part of the Jianshe Yinhang mirror illustrated in Figure 21 . Photograph: author. The image at bottom left is the component model from the Guokeda M4 mirror (see Figure 13 ). Figure 22. Detail of the bottom part of the Jianshe Yinhang mirror illustrated More
Image
Published: 01 October 2017
Figure 4. Kālacakra and consort (detail), depicted in mural behind glass and modern clay sculpture at center of Akaniṣṭha Shrine (see point 1 on figure 3 [3.1]), first half of seventeenth century. Photograph: author. Figure 4. Kālacakra and consort (detail), depicted in mural behind glass More
Journal Article
Archives of Asian Art (2020) 70 (1): 1–21.
Published: 01 April 2020
...Jos Gommans Abstract Questions arising from the so-called Brooklyn kalamkari , a seven-panel, hand-painted cotton textile, have confronted art historians for decades: what do we see, who produced it for whom, what does it mean? With royal court scenes from all over the Indian Ocean world...
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Image
Published: 01 October 2017
Figure 11. ( Left ) An imagined grid of the background pattern of the Guokeda M4 mirror (see Figure 5 , with four adjoining rectangular pattern units cropped out of the grid.( Right ) Detail of D3, D4, E3, and E4. Photograph and artwork: author. Figure 11. (Left) An imagined grid More
Image
Published: 01 October 2021
Figure 11. Concluding section of the second face of Mewari scroll prepared in 1769 astral calculations. Here we see a calculation recorded in 1778 and again sometime between 1884 and 1930. Photograph: Nachiket Chanchani, taken with the permission of the British Museum. Figure 11. Concluding More
Image
Published: 01 April 2022
Figure 8. Mi Fu's six small seals on inscription to Chu Suiliang's Copy of Wang Xizhi's Lanting Preface (see Figure 6). Clockwise from upper left: Mi shi 米氏, Mi shi zhi yin 米氏之印, Mi Fu 米芾, Mi Fu zhi yin 米芾之印, xinmao Mi Fu 辛卯米芾, Mi Fu xinmao yin 米芾辛卯印. From Nakata, Bei Futsu , 1 More
Journal Article
Archives of Asian Art (2016) 66 (1): 25–49.
Published: 01 April 2016
..., the The narrative method and pictorial style are clearly current attribution to Qiao Zhongchang is based on associated with the tradition of Li Gonglin the personal name ‘‘Zhongchang’’ appearing in one of (1049–1106), another of Su’s close friends and the most the colophons (see Appendix).6 Early records tell...
Journal Article
Archives of Asian Art (2011) 61 (1): 107–126.
Published: 01 April 2011
..., 365–427), which itself conveys The collection emphasizes the Song (30 works by 6 the idea of a paradise-like physical and social space situ- painters, or 14 percent of the Chinese collection) and ated in the distant past. We may also, however, see An Yuan periods (129 works by 21 painters, or 74...
Journal Article
Archives of Asian Art (2016) 66 (2): 187–212.
Published: 01 October 2016
... century (see Fig. struct the pagoda, as well as Buddhist remains on site 22). According to Perlee, the four sides of Bars-Khot 1 and pagodas he had seen in Mongolia that he believed measured 1,900, 1,770, 1,770, and 1,530 meters begin- to be Khitan, Perlee posited that the pagoda in question ning...
Journal Article
Archives of Asian Art (2019) 69 (2): 181–216.
Published: 01 October 2019
... readings for the passage “black stone.” For more on this, see Kim, “Sites of Caṅkrama.”] 昔有比丘在上 經行 。 思惟是身無常苦空。 得不淨觀厭患是身。 即捉刀欲自殺。 863:a16–22 7 Gayā (Jiaye 伽耶) There is a site under the Pattra ( beiduo 貝多) Tree where the Buddha paced mindfully in the second week of his Enlightenment. 佛成道已七日觀樹受解脫樂處。 佛...
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Journal Article
Archives of Asian Art (2014) 64 (1): 75–92.
Published: 01 April 2014
... to be east of the Archway of Accumulated course ‘‘Art and Literary Theory on Creative Method’’ Emeralds, a position outside the scope of the picture, to at the Central Academy of Fine Arts from 1950 to see it. The problem with this perspective is that one sees 1952 and worked under the Propaganda...
Journal Article
Archives of Asian Art (2016) 66 (1): 81–105.
Published: 01 April 2016
... of S´a¯kyamuni Buddha (Shijia fo emerges from the begging bowls that are held in front of the body and in the innermost layer of hands (Fig. 3). The arrangement of Man˜ jus´rs arms is striking in its similarity to Avalokites´vara (see Fig. 2), the only other Buddhist deity commonly depicted...
Journal Article
Archives of Asian Art (2017) 67 (2): 143–187.
Published: 01 October 2017
...Figure 3. Iconographic layout of Akaniṣṭha Shrine. Numbers indicate main themes, letters indicate Life of the Buddha episodes. Drawing by Mel Keiser. For a detailed identification of the numbers and letters, see appendix . Figure 3. Iconographic layout of Akaniṣṭha Shrine. Numbers indicate...
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Journal Article
Archives of Asian Art (2013) 63 (1): 1–25.
Published: 01 April 2013
... Art, 1000–1400, and working on a 1985), pp. 47–48; 93–95. book-length project on the ontological understanding of For a general discussion of the traditional Chinese fu- borders and boundaries in the ritual art of middle-period nerary program, see James L. Watson and Evelyn S. Rawski...