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Journal Article
Archives of Asian Art (2001) 52 (1): 44–62.
Published: 01 April 2001
...Elizabeth Brotherton Copyright © Asia Society 2001 Two Farewell Handscrolls of the Late Northern Song* ELIZABETH BROTHERTON STATE UNIVERSITY OF NEW YORK, NEW PALTZ In the autumn of 1122 the artist Hu Shunchen made a farewell poem with a farewell painting may likewise have...
Journal Article
Archives of Asian Art (2007) 57 (1): 121–150.
Published: 01 April 2007
...John D. Szostak Copyright © Asia Society 2006 Two Paths to the Pure Land: The Niga-byakudo¯ Theme and the Modernist Buddhist Art of Hada Teruo john d. szostak...
Journal Article
Archives of Asian Art (2012) 62 (1): 25–46.
Published: 01 April 2012
...Kristina Kleutghen Copyright © Asia Society 2012 One or Two, Repictured kristina kleutghen Washington University in St. Louis nformal Chinese imperial portraits, namely, those...
Journal Article
Archives of Asian Art (2020) 70 (1): 85–117.
Published: 01 April 2020
... but understudied institutional mechanism of Qing court painting. 4 Chen Yun-ru 陳韻如 goes further and discusses the stylistic expression and political meaning of this painting, which can be summarized in two points. The first is about its idealized tendency when depicting urban and palatial scenes; second, her...
FIGURES | View All (25)
Journal Article
Archives of Asian Art (2019) 69 (1): 73–101.
Published: 01 April 2019
.... This two-part article first considers the contexts of production, consumption, and signification of painted fans in twelfth- and thirteenth-century China, particularly in the urban setting of the capital city at Hangzhou. It then turns to the painted fans' transformation into collectibles in the late...
FIGURES | View All (28)
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Published: 01 April 2021
Figure 1. Two Śaiva centers at Bangarh and Bairhatta. Map: Ranjusri Ghosh Figure 1. Two Śaiva centers at Bangarh and Bairhatta. Map: Ranjusri Ghosh More
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Published: 01 April 2021
Figure 27. Thirty-two-armed Devī slaying asuras, Betna, first half of twelfth century. Black stone, h. approx. 55 cm. Courtesy of Shankar Das. Photograph: Ranjusri Ghosh. Figure 27. Thirty-two-armed Devī slaying asuras, Betna, first half of twelfth century. Black stone, h. approx. 55 cm More
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Published: 01 October 2017
Figure 45. Two female Bodhisattvas (detail of Figure 18 ). Photograph: author. Figure 45. Two female Bodhisattvas (detail of Figure 18). Photograph: author. More
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Published: 01 October 2017
Figure 28. Red rectangles marking five pad models and two locations of possible empty bands but strangely linked by curls (indicated by yellow ellipses) Figure 28. Red rectangles marking five pad models and two locations of possible empty bands but strangely linked by curls (indicated More
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Published: 01 October 2017
Figure 29. The upper two pad models are rotated 180 degrees so that the five pad models are in the same orientation. Red arrows indicate the locations of five empty bands. Figure 29. The upper two pad models are rotated 180 degrees so that the five pad models are in the same orientation. Red More
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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
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Published: 01 October 2017
13. Lee Lee-Nam (Korean, b. 1969), Reborn Light—Mother-of-Pearl , 2016. Two-channel video, 7 minutes 2 seconds. Asian Art Museum, San Francisco, 2016.169. Museum purchase. 13. Lee Lee-Nam (Korean, b. 1969), Reborn Light—Mother-of-Pearl, 2016. Two-channel video, 7 minutes 2 seconds. Asian Art More
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Published: 01 April 2018
Figure 8. Three papers joined by two “rip-join” seams: page 27 of the Tsurayuki Collection II , ca. 1112. Ink, collaged papers, metallic paints, vegetable dyes, and glue, 20 × 15.8  cm. Tokugawa Art Museum, Nagoya. Photograph: courtesy of DNP Art Communications. Figure 8. Three papers joined More
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Published: 01 April 2018
Figure 15. The shallow bas-relief showing two flanking minarets above the entrance to the Jagadīśvara temple, Raigad fort, ca. 1670. Photograph: Pushkar Sohoni. Figure 15. The shallow bas-relief showing two flanking minarets above the entrance to the Jagadīśvara temple, Raigad fort, ca. 1670 More
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Published: 01 October 2021
Figure 6. The maṇḍala and mantra of Akṣobhya directly above the doorway. Two figures, a White and a Blue Acala, flank the doorway and look down upon those who enter. Photograph: Sarah Richardson. Figure 6. The maṇḍala and mantra of Akṣobhya directly above the doorway. Two figures, a White More
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Published: 01 October 2021
Figure 9. White two-armed Avalokiteśvara with female above the Acala directly to the right of the doorway. Photograph: Sarah Richardson. Figure 9. White two-armed Avalokiteśvara with female above the Acala directly to the right of the doorway. Photograph: Sarah Richardson. More
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Published: 01 October 2021
Figure 16. Inscription two to the left of doorway (below Tathāgata). Photograph: Sarah Richardson. Figure 16. Inscription two to the left of doorway (below Tathāgata). Photograph: Sarah Richardson. More
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Published: 01 October 2020
Figure 7a–b. (a) Half-length figures within two concentric squares ornamented with a flower at each corner, and (b) a line drawing detail of the figures, east-side panel, Yuan Mi's stone sarcophagus, probably near Luoyang, Henan province, 524 ce . (a) Photograph by Minneapolis Institute of Art More
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Published: 01 October 2020
Figure 7a–b. (a) Half-length figures within two concentric squares ornamented with a flower at each corner, and (b) a line drawing detail of the figures, east-side panel, Yuan Mi's stone sarcophagus, probably near Luoyang, Henan province, 524 ce . (a) Photograph by Minneapolis Institute of Art More
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Published: 01 October 2020
Figure 22. Comparison of scale between two types of figures. Front guardian engraved on the front panel of Yuan Mi's sarcophagus (524 ce ) versus half-length figure engraved on the side panel. Probably near Luoyang, Henan province. Made by Jie Shi, based on Okumura, “Mekki kōshiden sekkan More