Beruflich Dokumente
Kultur Dokumente
2 J U N E 2 0 1 4
the journal of
the asian arts society
of australia
TAASA Review
c o n t en t s
Volume 23 No. 2 June 2014
3 Ed itor ial
TAA S A R E V I E W
Josefa Green
Khanh Trinh
Liwanna Chan
10
Wayne Crothers
12 A GLO BAL AUDI ENCE , O NCE AGAIN: CENTRAL A SIAN ART AT ART D UB AI
Asher Kohn
14
Sahul Hamid
John Millbank
20
Elizabeth Minchin
22
27
Russell Kelty
28
Jocelyn Chey
$70
$90
$95
$35
a dvert i s i ng RAT E S
Compendium of n pictures (detail) , mid Edo period, 18th century, album with
50 illustrations, ink and colour on silk, 37 x 45.5 cm each. National Noh Theatre. See pp4-6.
A f ull In d ex of ar ticles pub l ishe d in TAASA R e view s ince i t s beg i nni ngs
i n 1991 is available on the TAASA web s ite , www.taas a.o rg. au
TAA S A c o m m i t t ee
E DITORIAL
G i ll Gr een Pr esident
Yukie S ato
P AI N TI N G T H E T H E ATR E : N P I C T U R E S AT T H E A G N S W
Khanh Trinh
Inuyamabushi from the album Illustrations of old n and kygen, early Edo period,
17th century, ink and colour on paper, 44.4 x 59.5 cm. National Noh Theatre
vividly depict various aspects of this timehonoured performing tradition. Through the
discussion of select highlights this article will
explore the diverse stylistic and compositional
modes surrounding n paintings and prints,
as well as the socio-historical context of their
production and consumption.
Measuring only 16.6 cm high (but stretching
over 7 m long!), the handscroll Hyakuman
is arguably the biggest star among the
paintings in the exhibition for its rarity as
well as its early date. The play is attributed to
Zeami, who adapted it from an older version
written by his father entitled The craze woman
of Saga. The protagonist of the piece, a woman
named Hyakuman, went mad with grief
N performance, mid Edo period, 18th century, six-panel folding screen, ink and colour on gold ground, 72 x 227 cm. National Noh Theatre
TA A S A R E V I E W V O L U M E 2 3 N O. 2
Compendium of n pictures, mid Edo period, 18th century, album with 50 illustrations, ink and colour on silk, 37 x 45.5 cm each. National Noh Theatre
TA A S A R E V I E W V O L U M E 2 3 N O. 2
Illustrated handscroll of the n play Hyakuman (detail), Muromachi period, 16th century, handscroll, ink and colour on paper, 16.6 x 738.1 cm. National Noh Theatre
TA A S A R E V I E W V O L U M E 2 3 N O. 2
J I N S H A N P E A S A N T P AI N TI N G I N C H I N A
Liwanna Chan
Snakes, Lu Yong, 1980s, painting, 75 x 69cm, Zhijiang Province.
Source: Jinshan Peasant Paintings, China Today Press, 1991
TA A S A R E V I E W V O L U M E 2 3 N O. 2
A Corner in the Kitchen, Zhang Xinying, 1980s, painting, 57 x 61cm, Zhijiang Province.
TA A S A R E V I E W V O L U M E 2 3 N O. 2
A Boat Receiving the Bride, Chen Weixiong, 1980s, painting, 64.5 x 43.5cm, Zhijiang Province. Source: Jinshan Peasant Paintings, China Today Press, 1991
TA A S A R E V I E W V O L U M E 2 3 N O. 2
REFERENCES
Hua, J. 1984: Rural Changes in Peasant Paintings. China
Reconstructs, 11.
Jizhe (staff reporter). 1958: Nongmin zenyang xuehui chuangzuo.
Meishu, 9.
Pan, D. 1986: Zai yaa yu su de dui liu zhong. Meishu, 4.
Wu, T. 1982: Jinshan nongmin hua de daolu. Meishu, 8.
Chao, Z. 1991: The peasants paintings in Jinshan. China Today Press.
Zuo, H. 1992: Zhongguo minjian yishu. Hunan meishu chubanshe.
B U S H IDO : W AY OF T H E S AM U RAI
Wayne Crothers
10
TA A S A R E V I E W V O L U M E 2 3 N O. 2
The death of Kusunoki Masatsura, Utagawa Yoshitsuya(19th century), colour woodblock (triptych), 36.4 x 74.0 cm (overall), National Gallery of Victoria, Melbourne, Purchased, 1993
TA A S A R E V I E W V O L U M E 2 3 N O. 2
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The Dance with the God (detail), Alexander Barkovskiy, 2008, Still from video. Courtesy of the artist
TA A S A R E V I E W V O L U M E 2 3 N O. 2
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[Right] The heroic image of Sukarno contrasting with the uninspiring image of Tunku Abdul Rahman,
Malaysian Prime Minister [left]. Source: Mimbar Penerangan, No. 3, June 1965, Departemen Penerangan
TA A S A R E V I E W V O L U M E 2 3 N O. 2
The
two
most
influential
official
representatives to disseminate Socialist
Realism in Indonesia during the Guided
Democracy years were the Front Nasional,
FN (The National Front) and the Departmen
Penerangan, Deppen (The Department of
Information). D.N. Aidit, the leader of PKI
was also an influential figure in recruiting
cadres for the FN. In a handbook for
propaganda and indoctrination programs,
the importance of art and culture as tools for
the revolution was clearly stated (Naskah
Kerdja Bagian Indoktrinasi dan Propaganda
1962:4). Indonesian arts should not be set
apart from the revolution, and art must be
devoted to the well-being and dignity of
humanity. It was the task of the FN to fight
and eliminate destructive art and culture.
15
Indonesian people in concerted action against the states enemies. Source: Desa Membangun, No. 1, Nov/Dec 1961
Hamid
Mohamed
Maiddin
obtained
REFERENCES
D.N. Aidit, 1964, Tentang Sastera dan Seni, Jakarta: Yayasan
Pembaruan.
Desa Membangun, No. 1, 1961.
Desa Membangun, No. 1, 1962.
Gendang Budaya, No. 5, 1963.
Generasi Baru, No.5-6. June/July 1964.
Holt, Claire, 1967, Art in Indonesia, Continuities and Change,
New York: Cornell University Press.
Johnson, Oliver, 2012, Aesthetic Enemies: The Two Cultures
Theory at the Outset of the Cold War, in David Welch and Jo Fox
(eds.), Justifying War: Propaganda, Politics and the Modern Age,
UK: Palgrave Macmillan.
16
TA A S A R E V I E W V O L U M E 2 3 N O. 2
or
millennia,
traditional
Chinese
architecture relied on a single indigenous
system of construction for palaces, temple
halls and larger private houses, based on a
timber skeleton of columns and cross beams,
topped by a tiled roof with wide overhanging
eaves. Over time this system gave rise to
many elegant and sophisticated architectural
solutions. A new architectural innovation
emerged during the Ming dynasty (1368-1644),
halls built entirely of brick, with thick loadbearing walls supporting arches and vaulted
ceilings (only otherwise employed in tombs or
pagodas). Referring to the absence of wooden
frames, in China these buildings are known as
wuliang dian, or beamless halls (a different
character liang with the same pronunciation
yields the more Buddhist meaning boundless
halls). This style of architecture has been
almost entirely neglected in English-language
writings on Chinese architectural history (but
see Liang 1984: 71).
TA A S A R E V I E W V O L U M E 2 3 N O. 2
17
WANGU SI, SHANXI, INTERIOR CEILING VAULT OF BEAMLESS HALL SHOWING FAUX WOODEN
BRACKETS CARVED IN BRICK. PHOTO COURTESY CHRISTOPH REHAGE
BELOW: UPPER FAADE OF WANGU SI BEAMLESS HALL. PHOTO COURTESY CHRISTOPH REHAGE
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TA A S A R E V I E W V O L U M E 2 3 N O. 2
XIANTONG SI, WUTAISHAN, REAR OF LARGE BEAMLESS HALL FROM THE GOLD BRONZE PAVILION.
ONE OF THE SMALL BEAMLESS HALLS IS ON THE LEFT. PHOTO: JOSEFA GREEN
TA A S A R E V I E W V O L U M E 2 3 N O. 2
REFERENCES
Bodolec, Caroline, 2005. Larchitecture en vote chinoise un
patrimoine mconnu, Maisonneuve & Larose, Paris.
CCTV English Channel, Journeys in Time: A Mysterious Ancient
Building, 3 parts, first transmitted 15, 16, 17 September 2010
(available online at www.english.cntv.cn)
Glahn, Else, 1976. Fu-teng, in Carrington Goodrich ed.,
Dictionary of Ming Biography 1368-1644, Columbia University
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20
TA A S A R E V I E W V O L U M E 2 3 N O. 2
TA A S A R E V I E W V O L U M E 2 3 N O. 2
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S RI LA N K A s B A W A : AR C H IT E C T U R E S S E R E N DI P ITO U S LI N K S
Sabrina Snow and Ann Proctor
NATIONAL PARLIAMENT, KOTTE, SRI LANKA . PHOTO: SABRINA SNOW
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TA A S A R E V I E W V O L U M E 2 3 N O. 2
TA A S A R E V I E W V O L U M E 2 3 N O. 2
REFERENCES
Bawa, Geoffrey, Christoph Bon and Dominic Sansoni, 1990.
Lunuganga, Times Editions, Singapore
Daswatte, C., 2006. Sri Lanka Style, Periplus
Robson, D., 2007. Beyond Bawa: Modern Masterworks of Monsoon
Asia, Thames & Hudson, London
Robson, D., 2002. Geoffrey Bawa: The Complete Works, Thames
& Hudson, London
http://www.geoffreybawa.com/
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TA A S A R E V I E W V O L U M E 2 3 N O. 2
FLASK (TOKKURI), C. 2000, YOSHIKAWA MASAMICHI, B. 1946, JAPAN, TOKONAME PORCELAIN, UNDERGLAZE BLUE DECORATION,
17.0 CM (H). COLLECTION OF RICHARD MCMAHON. IMAGE COURTESY OF THE ART GALLERY OF SOUTH AUSTRALIA
TA A S A R E V I E W V O L U M E 2 3 N O. 2
H E R I TA G E D E S T I N AT I O N S
N AT U R E B U I L D I N G S P E O P L E T R AV E L L E R S
PO Box U237
University of Wollongong NSW 2500 Australia
p: +61 2 4228 3887 m: 0409 927 129
e: heritagedest@bigpond.com
ABN 21 071 079 859 Lic No TAG1747
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TA A S A R E V I E W V O L U M E 2 3 N O. 2
ALLEGORY III, 1988, ENDO TOSHIKATSU, SOUTH AUSTRALIAN GOVERNMENT GRANT 1991; STORAGE JAR (TSUBO) LATE 16TH C.,
GIFT OF SUE TWEDDELL 2007; LARGE JAR, MORI TOZAN AND WAVE JAR, MORI SEISHI, COLLECTION OF RICHARD B. MCMAHON
TA A S A R E V I E W V O L U M E 2 3 N O. 2
REFERENCES
Earle, Joe. 2005. Contemporary Clay: Japanese ceramics for the
new century, Museum of Fine Arts, Boston.
De Jongh, Karlyn, 2011. Facing the void: A conversation with
Toshikatsu Endo, Sculpture, Vol. 30, No. 5 (June 2011).
Koe Magazine Online, Kato Takahiko: Shigaraki Ceramic Artist, July
2013, http://www.koemagazine.com/2013/07/kato-takahiko/
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B OO K R E V I E W : E X H I B I T I N G T H E P A S T
Jocelyn Chey
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TA A S A R E V I E W V O L U M E 2 3 N O. 2
R E C E N T TAA S A A C TI V ITI E S
TAASA NSW
Chinese Opera Evening
27 February 2014
TAASA, with AASI (Australasian Art and
Stageworks Inc), treated guests to the
traditions of Chinese Opera. Fiona Reilly,
Head of Costume at NIDA, provided insights
into some of its symbolism and background.
We watched renowned Chinese Opera
performer, Gabrielle Chan, being made up
by professional make-up artist, Wong Ka Bo.
Gabrielle represented the hua dan or female
role with a dramatic, white and pink face and
slanted, phoenix eyes lined in black. A wig
was applied in pieces soaked in tree resin to
accentuate the performers face and to serve
as a base for her elaborate headdress. Lastly,
over her white, inner garments she was
dressed in an embroidered, pale, silk costume
with long, expressive water sleeves.
Meanwhile, Gabrielles husband, Michael
Quan, applied his own makeup in the
sheng or bold, male role. After our Chinese
banquet, we watched a Cantonese opera
excerpt performed by Gabrielle and Michael.
Margaret White
TAASA CERAMICS STUDY GROUP
An Exploration of Ly and Tran Dynasty
Ceramics (1009-1400) in Historical Context
11 March 2014
Authority on Vietnamese arts, Kerry
Nguyen-Long, focussed on the ceramics from
this period, little researched until recently.
Ly and Tran ceramics were composed of finetextured white clays, their warm white, pearl
grey and cream colours resulting from thin,
ash glazes. Greenish or iron brown wash
wares decorated with sgraffito designs were
also typical.
Her talk outlined the ways in which Buddhist
and Champa kingdom influences are evident
in Ly Dynasty ritual ceramic shapes and
TAA S A M E M B E R P ROFIL E S B O R I S K A S P I E V
Boris
Kaspiev
is
an
independent,
private collector of
Asian art, with a
specific interest in the
Buddhist art of Tibet
and Mongolia. His
collection, acquired
over nearly 30 years
in partnership with the late Richard Price,
comprises more than 400 works dating from
the 10th century BCE to the early 20th century.
TA A S A R E V I E W V O L U M E 2 3 N O. 2
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TAA S A M E M B E R S DIARY
JUNE AUGUST 2014
TAA S A M E M B E R P ROFIL E S S A N DY W A T S O N
I
grew
up
in
Queensland. After
some years living and
working in London,
and
travelling
throughout Europe
I met and married
John, an Englishman,
and together in 1972
we adventured overland (the so called
Hippie Trail) from London to Brisbane,
by public transport. We settled in Sydney,
where our two children were born.
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TA A S A R E V I E W V O L U M E 2 3 N O. 2
W H AT S O N : J U N E A U G U S T 2 0 1 4
A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS
Compiled by Tina Burge
NSW
VICTORIA
Bushido Way of the Samurai
4 July 4 November 2014
National Gallery of Victoria, Melbourne
SOUTH AUSTRALIA
The Doily Collecting Cowboy - Indonesian
Netsuke and other miniatures
Tabaimo: Medurumeku
3 24 August 2014
TA A S A R E V I E W V O L U M E 2 3 N O. 2
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