Asian Art Research Articles

Queen Maya & Yasodhara in Gandhara Buddhist Sculptures

The aim of the research was to study at the female representation in Buddhist Gandhara's sculptural history. It is a genuine revelation that the subject matter of Gandhara sculptures is the Buddhah life story, as depicted in the stone panels. We began to collect Queen Maya and Yashodhara images from Peshawar, Texila and Mardan Museum. As a result, the Gandharan perception of the female was complex: female images frequently signified prosperity, fertility, and nurture, but they also embodied seduction, disease, and death at other times. The Gandharan woman is dichotomous and replete with vigour, a synthesis of various religious, aesthetic, and political ideas. This research will contribute to the existing information about female portrayal in Buddhist and South Asian art forms, thereby advancing the work on women's roles and representation in the South Asian region.

Analysis of the Use of Emotional Expression in the Creation of Watercolor Art

Time is progressing, modern art is also booming, painting is not only focusing on beauty but a way of communication, painting can convey the emotions we want to express, which cannot be replaced by language. A good painting can integrate the creator's emotion with the painting, and reflect the performance of artistic thinking, so that the painting becomes lifelike, more vivid and natural as if reading the author's heart, as if communicating with the author, the form of language is the basis to support all the paintings. Watercolor painting has a long history, from the West into the land of China, by the influence of oriental art, formed a unique contemporary watercolor language form, showing a unique painting style. Emotion is the core of formal language as the creation of painting, and it is the bridge between emotion and concrete expression, and the two are complementary to each other.

Symbolic Significance of Star Motifs in Islamic Geometric Decoration and Contemporary Trademark Design in Pakistan

Geometric decoration in Islamic art has a special significance having symbolic meanings. Star motif is one of the most prominent shapes employed in these geometric decorations. These motifs, as they originated with spiritual essence in Persia around nineth century, were carried on as an influential factor in South Asian art, particularly Mughal art. The surface embellishments of the Mughal monuments are flooded with geometries having various types of star motifs. Interestingly, the contemporary trademark design in Pakistan reveals great influence from these geometric star motifs. Having a symbolic significance, these designs create a profound visual impact in communication. This research puts forth the symbolic meaning behind the star used in Islamic geometric decoration, and presents its influence on contemporary visual communication design in Pakistan. The designs studied for this research are the trademarks of banks, universities, government departments, and other private companies and brands. The research, after examining the formal quality of the star motifs with reference to the respective meanings, establishes the significance of star motif in visual communication.

Cambodia. Early Theravādin Cambodia: Perspectives from art and archaeology Edited by Ashley Thompson Singapore: National University of Singapore Press (with the Southeast Asian Art Academic Programme, SOAS University of London). Pp. xxix + 288. Maps, Images, Bibliography, Index.

Cambodia. Early Theravādin Cambodia: Perspectives from art and archaeology Edited by Ashley Thompson Singapore: National University of Singapore Press (with the Southeast Asian Art Academic Programme, SOAS University of London). Pp. xxix + 288. Maps, Images, Bibliography, Index.

Leaving Javanese Shadow Theatre (Wayang Kulit) Religiously Unlabelled

Wayang Kulit, the shadow theatre tradition on the island of Java, combines ancient Javanese and Indian myths in a Muslim context and therefore poses as a wonderful example of how religious traditions intertwine with works of art. This article explores the religious appropriation and acculturation at work in the history of Javanese shadow theatre. It also grants a behind-the-scenes look at the curatorial challenges involved in preparing a Wayang Kulit exhibition at the Museum Rietberg in Zurich, in particular how to convey the complex intermingling of cultures and religions so that audiences can understand it. Finally, we call into question some narratives and concepts traditionally used in Western museums to tell the story of Southeast Asian art.

The Broadening of Art Perspectives in an Art Course of Non-Art Major Students through a Korean Art Teacher’s Asian Art Viewpoint

This research explores how Multicultural and Asian art affects college students in a U.S. university. The students did not major in art, and they chose art as elective subjects. The art course consisted of art theory and practice based on DBAE(Discipline-Based Art Education). In the art class, some non-white students always enrolled in the course. The researcher found that DBAE was satisfactory but sometimes inappropriate because DBAE is rooted in Western high art. The researcher changed the art studio class with a multicultural perspective, especially Asian art because he wanted to introduce a new art style to the class and give them a chance to appreciate non-western art. Qualitative action research and arts-based research methods were used to conduct this project. The result revealed that the students of color showed more confidence and actively participated in the class. The works of students of color were changed and improved. Second, women became more aware of social issues and expressed their feelings and emotions in their works. It seemed that the women students would become social activists and voice their opinions by making their art. Third, some students, especially Hispanic and Asian students showed their identity through their artworks. Forth, some Korean students did not make much progress. By including multicul-tural art in art classes, more students could broaden their perspectives on art and understand diversity through their artworks.

On Chinese Aesthetics of Abstract Expressionism Art

In the development trend of modern and contemporary art, abstract expressionism has occupied a decisive position in the history of art since its birth. As a representative art school in the 20th century in the West, it unexpectedly has a very distinctive artistic characteristic of China. In terms of objective environment, the artistic dialogue between China and the West in the 20th century was promoted to the field of metaphysical philosophy. Western artists' interest in oriental art surpassed their superficial understanding of their unique brushwork, and abstract art became the best cultural bridge to communicate between the East and the West. This paper compares the characteristics of Chinese and western artistic thoughts and the characteristics of abstract expressionism art, and explains how it has oriental artistic thoughts on the basis of world outlook.

Research on two popular recommendation algorithms for anime

Anime is a popular eastern art form whose audience is mainly young people. In recent years, many people choose to watch anime on the websites. The recommendation system plays a very important part in improving the user experience and saving time. This paper focuses on two basic recommendation algorithms based on machine learning and deep learning methods, including the content-based and collaborative filtering method. The data used in this paper was downloaded from a public dataset on Kaggle. This paper shows how the two methods perform in the anime dataset and compares the results of the two methods. However, two methods have their own advantages in different conditions. The content-based method works when the user wants some related contents. The collaborative filtering method works better while considering more factors other than contents. These two methods can be combined under a new algorithm to form an even more reliable and reasonable recommendation system in the future studies.

1991년부터 2020년까지 서울시립미술관 해외작가 소장품에 대한 시대별 변화 및 특징 연구

The purpose of this paper is to study the changes in and characteristics of SeMA’s acquisitions of non-Korean artists from 1991 to 2020 through a periodical perspective. In the 1990s, SeMA's collections of non-Korean artists developed around crafts and ceramic art, and artists from Western and select Asian countries were emphasized. In the 2000s, printworks related to the Seoul Olympics made by important global artists comprised the highest proportion of the museum's non-Korean acquisitions, and a wider variety of genres were collected, emphasizing painting and photography. Also, similar to the 1990s, in this period Western and Asian artists dominated the museum’s collection, though non-Western artists increasingly helped to diversify it. In the 2010s, SeMA showed even greater diversification in the artistic genres it collected, including painting, photography, installation, and new media, and emerging global artists were collected. As for the artists’ nationalities, there was a tendency in this period to collect works by multinational artists, including those from the Middle East. In addition, increasing emphasis was placed on ‘Korea’ and Korea-born foreign artists, a trend that had continued from the 2000s. Developing a discourse of globalization centered on local government art museums, this study examines the characteristics of non-Korean artists acquired by SeMA’s from the perspective of time.

The Research on the Role of Qipao on the Female Image Portrayals in the Hong Kong Movie in the Mood for Love

Clothing can show the charm of the film and help shape the characters image. An appropriate garment can even express the character's ideas and feelings and highlight the artistic charm of the film. As one of the significant elements of Oriental dresses, qipao serves as an external expression of Chinese culture. The profound cultural heritage of cheongsam shows the unique aesthetics of Oriental art and has now become an essential cultural symbol in movies. The film In the Mood for Love allows qipao to significantly promote the development of the film plot and highlight the background of history. In the Mood for Love narrates love under a historical background partly through the character Sus body. Qipao is also used as a symbol of the female body throughout the film, remarks on the heroine's restrained morality and her deepest desire for love. Various qipaos in the movie show exquisite fabric design and profound cultural heritage the soul of In the Mood for Love. Qipao provides the film with a deep reflection of culture and a significant level of aesthetics.

Otto Fischer (22 Mai 1886 — 9 April 1948) Veröffentlichungen zur asiatischen Kunst

Otto Fischer was born into a merchant family in Reutlingen on May 22, 1886. From 1904 he studied law, then art history in Tbingen, Munich, Vienna and Berlin and received his doctorate in 1907 with the dissertation Altdeutsche Malerei in Salzburg under Heinrich Wlfflin in Berlin. After study trips to Italy and France, he lived in Munich from 1909 to 1913 as a private scholar and was in close contact with the young artists of the Neue Knstler-Vereinigung Mnchen, which developed into the Blaue Reiter. In 1913, he habilitated in Gttingen with the thesis Die chinesische Malerei, which was published in a revised form as Die Chinesische Landschaftsmalerei. After serving in the war as a volunteer in 19151918, he was Director of the Museum of Fine Arts in Stuttgart (now the Staatsgalerie) in 19211927, where he distinguished himself with exhibitions such as Neue Deutsche Kunst (1924) and Schwbische Malerei des neunzehnten Jahrhunderts (1925). In 19251926, he undertook a research trip to China, Japan, Java and Bali, which he described in two books. In 19271938, he was Director of the Kunstmuseum Basel and taught as a Professor Extraordinary at the university. In 1938, he retired to Ascona as a private scholar. He died in Basel on 4 April 1948. Fischers main areas of work and research were Old German painting and East Asian artthe fields to which, as can be seen already from his two dissertations, he applied himself in equal measure. His publications on German art are easily accessible, whereas his publications on the art of China, Japan and Southeast Asia reached only a comparatively small circle. In addition to his books on Chinese painting and sculpture, his work on Chinese art theory and Chinese stone rubbings as well as Chinese graphic art (color prints) deserve special mention. Fischers many-sided, sometimes controversial activities have been acknowledged several times in recent years (cf. literature on Fischer); the aim of this small contribution is to make Fischers publications on East Asian art known in their entirety. The material has been recorded after the scholars autopsy and is partly annotated. Perhaps the compilation will stimulate an art historian to appreciate Fischers contributions to East Asian art history in terms of content.

Chinoiserie in European painting of the XVII-XVIII centuries

After 1604, Chinese art through Chinese goods rapidly and widely penetrated into European society and had a profound impact on European art and aesthetics.During the century of the popularity of everything Chinese in Europe, it was Chinese goods represented by porcelain and flowing silk that were most directly related to people's lives. From the second half of the XVII century to the second half of the XVIII century, European culture and art experienced a boom in Oriental art. A number of innovative artists began to change their traditional interests and methods of painting, creating many masterpieces with a Chinese flavor. Thus, a new page was opened in the history of Eastern and Western painting. China and Europe, two advanced human civilizations.It took quite a long time before the fog of myths and legends that enveloped China and Europe, the two highest civilizations of mankind, dissipated, until the true nature of China was revealed in the XVIII century. This work is divided into the following three parts: The emergence of Chinoiserie; Rococo and Watteau painting; The decline of Chinoiserie. Documentary studies, comparative analysis and case studies are used to study the phenomenon of China's popularity, which has engulfed Europe as a direct consequence of the spread of Chinese culture in the West.

РОЗВИТОК СУЧАСНОГО ОБРАЗОТВОРЧОГО МИСТЕЦТВА ЦЕНТРАЛЬНОЇ АЗІЇ

The article examines the development of the visual arts of Central Asia from the moment the countries conquered this part of the world, from 1991 to the present day. In the context of «One Belt, One Road», there is a reinterpretation of the modern history of the visual arts of Central Asia from a global historical perspective, which has a certain strategic importance in order to carry out a joint study of the culture and art of the Silk Road. Central Asian art is a meeting place for Asian and European cultures. Although the history of the development of contemporary art in Central Asia is in the turmoil of modern world history, it is believed that it can withstand the changes of time and continue to develop dynamically. The history of contemporary art in Central Asia has experienced three important social changes and artistic trends: firstly, during the period of the Russian Empire, the artistic movement of realism influenced the strict rules and regulations of Islamic art; secondly, their own artistic style and their own cultural characteristics gradually formed; thirdly, the direction of contemporary art constantly breaks down barriers, «patterns and rules», realizing artistic aesthetics and artistic ideals in integration. During the thirty years of Central Asian independence, open borders, free external exchanges and cooperation gradually emerged from the shadow of the vast haze of Soviet art history, lifted the mysterious curtain of Central Asian contemporary art, and gradually dispelled the interest of the academic community in Central Asian art, cognitive flaws and misunderstandings. However, people’s understanding of the history of contemporary art in Central Asia cannot be achieved overnight, and its inherent shackles still influence the way the academic world thinks. Keywords: Central Asia, tradition, culture, history of modern art, fine art, painting, silk road.

Continuity: Sharing Space in teamLab’s Digital Ecosystems

In 2021, the Asian Art Museum of San Francisco inaugurated the opening of its new contemporary wing with teamLab: Continuity. The immersive exhibition spanned six galleries and was fully interactive via sensors and digital projection mapping technology; flowers bloom and grow, flying crows burst into colorful chrysanthemums, and butterflies are born or killed at a moment’s touch. The digital objects dynamically interact with one another and with humans, blurring boundaries between art, participant, and technology. This article examines Continuity as a “collective interactive experience” situated within a digital ecosystem. It explores teamLab’s approach to the natural environment and its digital replication, with a focus on the relationship between humans and machines in shared exhibition spaces.

Imitations of ancient jade products of the Qing era (1636-1912) in the collections of Russian museums

Jade products that imitate ancient Chinese art samples are a special kind of objects that, in their form and decor, are close to or likened to more ancient works of arts and crafts. The article explores the artistic form and characteristic features of imitations of ancient jade products of the Qing era, presented in the collections of Russian museums and the Palace Museum of China. The object of the study are objects of Chinese art of jade carving, which are in the collection of the Palace Museum (Beijing), the Museum of Anthropology and Ethnography. Peter the Great (Kunstkamera) of the Russian Academy of Sciences (St. Petersburg) and the State Museum of Oriental Art (Moscow), where the use of imitations of ancient objects was discovered. Artistic analysis of jade imitations allows us to conclude that the works of the Qing era were more complex and diverse in form, decor and carving techniques compared to Han products, while the craftsmen, although they managed to preserve the classical sophistication of objects, lost the severity and solemnity of Han jade. As well as the art history analysis of the works, one can see that the forms and decors of jade objects are the product of aesthetic consciousness. The novelty of this study lies in the fact that the varieties and features of imitations of ancient jade during the Qing Dynasty are summarized, and the huohuan technique in jade processing is confirmed. This may be of interest to researchers in related scientific fields.

The creation of contemporary glass mosaics inspired by ancient Burmese glass art

This research studies glass decorations used in religious buildings from nineteenth-century Burma. It focuses on artworks found along the inner walls of the Buddhist shrine at Shwe Yan Pyay in Nyaungshwe City. Dating from the early nineteenth century, the shrine still serves as a Buddhist learning centre in the village and is thus an invaluable source of knowledge on Burmese and Asian art. Ancient glass artworks employed different techniques, many of which have since faded from practice, such as painting under glass or using lacquer. Their study can inform art education, promote art conservation and open new creative pathways for contemporary artists. This study has researched these ancient techniques through practice-based research and offers examples of its contemporary application.

3. The Oblique Parallel Perspective of Asian Art

Abstract This paper examines the use of oblique parallel perspective as a method of structuring pictorial space in Far Eastern art. Unlike the conical perspective of the Renaissance, this type of perspective is not grounded on a scientific foundation; and yet, it follows a series of well-defined principles that offer a rational solution to the problem of representing space. Inspired by the philosophies of the Far East, Asian perspective is a completely different phenomenon, if we compare it to the types of perspective used by European artists. In the 17th century, Asian artists begin experimenting with convergence – an element that is typical of conical perspective. This phenomenon did not take hold, as the attempts to adapt conical perspective did not have an impact on the deeply traditional cultures of the Far East.

Towards an End of New Beginnings: A Historiographical Exegesis of T.K. Sabapathy's 'Regionalist Perspectives'

Abstract: T.K. Sabapathy is widely regarded as the pre-eminent art historian in Singapore, and possibly Southeast Asia. In addition to serving as an educator, curator, critic and advisor, Sabapathy is a prolific writer with an unrivalled textual output that spans five decades and a multitude of art historical concerns. Through a close reading of Sabapathy's 1996 paper "Developing Regionalist Perspectives in Southeast Asian Art Historiography", this essay dissects a single representative idea from Sabapathy's extensive corpus, specifically what he designates as 'regionalist perspectives'. Part exegesis, part historiography, this essay investigates the nuances and features of 'regionalist perspectives', the individual motivations and extrinsic forces which contributed to this approach, as well as suggests some reasons for its prominence and enduring association with Sabapathy's work as an art historian. It aims to further historiographical interest in the oeuvre of an art historian who has had an immense and indubitable impact on the disciplinary foundations of modern Southeast Asian art history.

Dialogicity and Textuality as Features of the Cultural Space of V. Kandinsky and D. Burliuk

The appeal to the cultural space of the Silver Age and the Russian avant-garde allows us to judge the diversity of manifestations of the cultural text, the uniqueness of the dialogue between the cultural worlds of Russia and Europe, East and West. The cultural space of prominent representatives of the Russian avant-garde, including V. Kandinsky and D. Burliuk, was distinguished by a combination of artistic creativity and theoretical views, that is, a variety of synthesis of visual, verbal, auditory and other texts. Accordingly, the object of the study is the creative and theoretical heritage of V. Kandinsky and D. Burliuk, consisting of many texts, the subject is the identification of characteristic features of their cultural worlds, such as dialogicity and textuality. The scientific novelty and purpose of our research consists in the culturol analysis and method of comparing the artistic and theoretical views of the artists-thinkers V. Kandinsky and D. Burliuk, in identifying the inseparable connection of their various texts: artistic, visual, verbal, auditory and others. It is established that the originality of the national culture is due to the history of Russia and its location between Europe and Asia. The simultaneous coexistence of cultural phenomena of the past, present and future, their continuity and competition among themselves is a non-linear process, which happens in the era of the Silver Age. This "transitional" period at the junction of the XIX-XX centuries is characterized as an "explosion" situation. The embodiment of the unity of the traditions of Russian and European arts, the interweaving of their artistic achievements and theoretical attitudes in V. Kandinsky's worldview, as well as theoretical views on art problems and the originality of D. Burliuk's artistic text with his passion for Oriental art – all this confirms the similarity of the creative attitudes of artists-thinkers. A comparison of their verbal and artistic texts leads to the conclusion that the features of the cultural worlds of V. Kandinsky and D. Burliuk are dialogic, textual and synthetic.

Roundtable on John Clark's The Asian Modern

Abstract The book, The Asian Modern, by John Clark (with an Introduction by the Manila-based critic and curator, Patrick Flores) seeks to construct a “cross-Asian” account through a detailed historical and empirical focus on 30 artists spanning Southeast, East, and South Asia, as well as Australia. At the core of the book is the premise that the given place, “Asia,” is the locus for a critique of the normative account of modernism tethered to another locale, identified by Clark as “Euramerica.” These focused geographic arenas provide the basis for novel itineraries, dynamic dispersals, and alternative sightlines that reject the conventional frame of the nation. Given the ambitious scale and scope of Clark's project, the ARTMargins editors invited five historians of modern and contemporary art in Asia—Monica Juneja, Ming Tiampo, Nora Taylor, Gao Minglu, and Chaitanya Sambrani—to critically reflect upon the methodological and scholarly implications of his undertaking for the narratives of art history in Asia and beyond. Their responses point up both the limits and merits of The Asian Modern, and address important themes and debates in approaches to global art history, more broadly.