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Journal Article
Archives of Asian Art (2001) 52 (1): 11–43.
Published: 01 April 2001
...Susan E. Nelson Catching Sight of South Mountain: Tao Yuanming, Mount Lu, and the Iconographies of Escape SUSAN E. NELSON INDIANA UNIVERSITY To engage with the world or to withdraw from it—that associated with him were used as decorative designs, attach- has been the question for...
Journal Article
Archives of Asian Art (2009) 59 (1): 1–5.
Published: 01 April 2009
...Alka Patel Copyright © Asia Society 2009 The Historiography of Reuse in South Asia alka patel University of California, Irvine t is little wonder that the historical phenomenon of...
Journal Article
Archives of Asian Art (2019) 69 (1): 1–19.
Published: 01 April 2019
...Robert DeCaroli Abstract Visitors to early (second century bce –fifth century ce ) Buddhist monastic sites across South Asia encountered prominent figural images of nāga s, serpent-like beings who were believed to be closely connected to water and rainfall. Such images are commonly identified as...
Journal Article
Archives of Asian Art (2015) 65 (1-2): 57–86.
Published: 01 October 2015
...Jinah Kim Abstract What was the main principle behind the design strategies developed to prepare painted palm-leaf manuscripts in medieval South Asia? How did various Indic religious communities design their manuscripts? By bringing together surviving painted manuscripts of heterogeneous religious...
Journal Article
Archives of Asian Art (2020) 70 (1): 1–21.
Published: 01 April 2020
... Brooklyn kalamkari represents a uniquely cosmopolitan worldview from early-seventeenth-century South India. In this essay I discuss the makings of this particular worldview in the context of early modern processes of globalization and state-formation. By engaging with the work of Indologists Johan Huizinga...
Image
Published: 01 April 2020
Figure 1. Hanging, 7 Pieces [“Brooklyn kalamkari ”], South India, 1610–1640. Kalamkari ; cotton, drawn and painted resist and mordants, dyed, 275–277.5 × 95.9–97.8 cm. Brooklyn Museum, Museum Expedition 1913–1914, Museum Collection Fund, 14.719.1–7. Artwork in public domain. Figure 1 More
Image
Published: 01 October 2019
Figure 1. The Diamond Ordination Platform viewed from the south, T'ongdosa, Yangsan, Korea, 2010. From Pulgyo, Han'guk ŭi sach'al munhwajae , pl. 344. Reproduced by permission of T'ongdosa. Figure 1. The Diamond Ordination Platform viewed from the south, T'ongdosa, Yangsan, Korea, 2010 More
Image
Published: 01 October 2017
Figure 11. Amitāyus, west end of south wall of Akaniṣṭha Shrine (3.7), first half of seventeenth century. Photograph: author. Figure 11. Amitāyus, west end of south wall of Akaniṣṭha Shrine (3.7), first half of seventeenth century. Photograph: author. More
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Published: 01 October 2017
Figure 12. Amoghasiddhi, west end of south wall of Akaniṣṭha Shrine (3.8), first half of seventeenth century. Photograph: author. Figure 12. Amoghasiddhi, west end of south wall of Akaniṣṭha Shrine (3.8), first half of seventeenth century. Photograph: author. More
Image
Published: 01 October 2017
37. Buddha , South India, Telangana (Andhradesa), probably Nagarjunakonda, Ikshvaku period (ca. 225– ca. 320), third century. Limestone, 76.2 × 27.9 × 11.4 cm. The Metropolitan Museum of Art, 2016.700. Purchase, the Vincent Astor Foundation Gift, Brooke Russell Astor Bequest, the Miriam and Ira More
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Published: 01 October 2017
Figure 5. Mañjuśrī (detail), south side of west wall of Akaniṣṭha Shrine (3.9), first half of seventeenth century. Photograph: author. Figure 5. Mañjuśrī (detail), south side of west wall of Akaniṣṭha Shrine (3.9), first half of seventeenth century. Photograph: author. More
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Published: 01 October 2017
Figure 19. Seated Mañjuśrī (3.9) and standing Maitreya Bodhisattva, near south end of west wall of Akaniṣṭha Shrine, first half of seventeenth century. Photograph: author. Figure 19. Seated Mañjuśrī (3.9) and standing Maitreya Bodhisattva, near south end of west wall of Akaniṣṭha Shrine, first More
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Published: 01 October 2017
Figure 8. Akaniṣṭha Heaven, south end of east wall of Akaniṣṭha Shrine (3.2), first half of seventeenth century. Photograph: author. Figure 8. Akaniṣṭha Heaven, south end of east wall of Akaniṣṭha Shrine (3.2), first half of seventeenth century. Photograph: author. More
Journal Article
Archives of Asian Art (2017) 67 (1): 111–142.
Published: 01 April 2017
... predominantly patriarchal northern regions rose to greater prominence in the south during the second century ce . The new identities of older imagery diminish the role of vernacular women's rites, which were important in the southern regions of Karnataka and Andhra Pradesh, where the social structure of local...
Journal Article
Archives of Asian Art (2017) 67 (1): 83–109.
Published: 01 April 2017
... symbols until the Qing dynasty. Their multivalent imagery allowed them to exist in multiple, conflicted contexts: north and south, literati and academic, private and public, and, in the ultimate coup, amid both loyalists and the Manchu court. 69. Brook, “Censorship in Eighteenth-Century China,” 176...
Journal Article
Archives of Asian Art (2017) 67 (2): 189–208.
Published: 01 October 2017
... profoundly aestheticized space. The Bahmani empire of Gulbarga and Bidar was the first Islamicate court culture to flourish in South-Central India and unified a vast territory from which the Deccani sultanates later emerged. This article demonstrates how the shrine of Ahmad Shah exemplifies a broader...
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Published: 01 October 2017
Figure 18. Southwest corner of Akaniṣṭha Shrine, showing Amoghasiddhi (3.8), west end of south wall, and four Bodhisattvas, south end of west wall, first half of seventeenth century. Photograph: author. Figure 18. Southwest corner of Akaniṣṭha Shrine, showing Amoghasiddhi (3.8), west end of More
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Published: 01 October 2017
Figure 15. Episode in Life Story series, depicting Dream of Queen Māyā, conception of Buddha, east end of south wall of Akaniṣṭha Shrine (3. b ), first half of seventeenth century. Photograph: author. Figure 15. Episode in Life Story series, depicting Dream of Queen Māyā, conception of Buddha More
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Published: 01 October 2017
Figure 10. Ratnasambhava (left), Akṣobhya (center), and Mahāvairocana (right), east end of south wall of Akaniṣṭha Shrine (3.4–6, respectively), first half of seventeenth century. Photograph: author. Figure 10. Ratnasambhava (left), Akṣobhya (center), and Mahāvairocana (right), east end of More
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Published: 01 October 2017
Figure 21. Amoghapāśa and retinue figures (Bhṛkutī, Ekajaṭā, Rakta-Amoghapāśa, and Hayagrīva), south end of east wall of Akaniṣṭha Shrine (3.3), first half of seventeenth century. Photograph: author. Figure 21. Amoghapāśa and retinue figures (Bhṛkutī, Ekajaṭā, Rakta-Amoghapāśa, and Hayagrīva More