Professional Documents
Culture Documents
Review 13 1 2004 March
Review 13 1 2004 March
3 S E P T E M B E R 2 0 1 5
the journal of
the asian arts society
of australia
TAASA Review
CONTENTS
Volume 24 No. 3 September 2015
3 ED ITOR IAL
TA A S A RE V I E W
Tarun Nagesh
Abigail Bernal
Penny Bailey
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Margaret White
design / layout
14
printing
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Leigh Mackay
20
Phoebe Scott
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Boris Kaspiev
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State of Play and Contemporary Chinese Art at the W hite Rabbit G allery, S ydney
Sabrina Snow
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Charlotte Galloway
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S YD N EY UN IVERSITY
Josefa Green
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$80
$90
$95
$40
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TAASA COMMITTEE
EDITORIAL
G i ll Gr een President
CHRISTIN A S UMN ER
T H E 8 T H A S I A PAC I F I C T R I E N N I A L O F C O N T E M P O R A R Y A R T
Tarun Nagesh
Rubber Man, 2014, Khvay SAMNANG, Cambodia b.1982. Digital print on cotton rag paper, ed. 1/3 + 1AP, 80 x 120cm.
Queensland Art Gallery | Gallery of Modern Art Foundation,Queensland Art Gallery Collection
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Nepal b.1986. Synthetic polymer paint on canvas, Diptych: 152.4 x 243.8cm (overall).Courtesy: The artist
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Tomorrow, 2014, Nomin BOLD, Mongolia b.1982. Gouache, old scripture sheets on
Lets walk, 2009, Haider Ali JAN, Pakistan, b. 1983. Digital print on canvas,
cotton194 x 144cm. Purchased 2015 with funds from Ashby Utting through the Queensland
Art Gallery | Gallery of Modern Art Foundation, Queensland Art Gallery Collection
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KA L PA V R I K S H A : C O N T E M P O R A R Y I N D I G E N O U S A N D V E R N AC U L A R
ART OF INDIA AT APT8
Abigail Bernal
Tsunami, 2015, Pushpa KUMARI, Bihar, India b.1969. Ink on acid free paper, 61 x 46cm. Courtesy: The artist
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Jar, Korea, first half of the 18th century. Porcelain painted in underglaze copper.
Bevelled vase, Korea, first half of the 18th century. Porcelain painted
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Jar, Korea, 19th century. Porcelain painted in underglaze cobalt and copper. Collection of the National Museum of Korea
REFERENCES
beauty and opacity of their white glazes.
Frequently featured on slightly asymmetrical
bevelled vessels, the designs proved extremely
popular among consumers of all social classes.
Their stylistic transformation away from the
more complicated motifs of many earlier
cobalt wares is thought to reflect the radical
changes taking place in the indigenous style of
landscape depiction which became known as
true view painting (Itoh & Mino 1991:125-26).
The other notable advancement in porcelain
underglazing in the 18th century was the
revival of underglazing in copper. While some
scholars maintain that the technology was first
developed in China and then transferred to
the peninsula (Nakao & Koyama, cited in Itoh
2000:25), many believe that it was invented by
Goryeo potters around the mid-12th century,
antedating Chinese (Yuan) use by at least a
century (Kim 2003:19; Mino 1991:29; Gompertz
1963:6-7). Although the technique was not
popularised until the 1700s, the earliest known
Joseon use is in a set of epitaph plates dated
to 1684. Documentation in Joseons Annals
actually points to much earlier use, but there
TA A S A R E V I E W V O L U M E 2 4 N O. 3
& Mino Y (eds.), The Radiance of Jade and the Clarity of Water:
Korean Ceramics from the Ataka Collection, Art Institute of
Chicago, Chicago, pp.2735
Roberts, C. & Brand, M. (eds.), 2000. Earth, Spirit, Fire: Korean
Masterpieces of the Choson Dynasty, Powerhouse Publishing, Sydney
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Indigo dyed futon cover of crane and tortoise-symbols of longevity, kasuri, weft ikat resist techniques, Japan, early 20th c. Photo: Margaret White
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REFERENCES
Balfour- Paul, Jenny, 2012. Indigo: Egyptian Mummies to Blue
Jeans, Firefly Books, British Museum, London
Connors Mary F., 2001. Lao Textiles and Traditions, Images of
Asia, OUP
Maxwell, Robyn, 2003. Textiles of Southeast Asia Tradition,
Trade and Transformation, Periplus, Singapore
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TA A S A R E V I E W V O L U M E 2 4 N O. 3
Jar with three handles and stamped decoration, Kashgar, Yawaluk site,
Sogdian, c. 6th century, 57 cm. Source: Watt et al. 2004
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Satellite image showing old agricultural fields around the Mori Tim stupas with the dotted
line of karez running through the middle. The straight lines are old irrigation channels.
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REFERENCES
Coningham, R. and Gunawardhana, P., 2013. Anuradhapura: Vol.
III: The Hinterland, B.A.R. International Series 2568, Oxford
de La Vaissire, ., 2011. Sogdiana iii. History and Archaeology,
in Encyclopaedia Iranica, http://www.iranicaonline.org/articles/
sogdiana-iii-history-and-archeology
Di Castro, A.A., Vicziany, M. and Zhu, Xuan (forthcoming 2015).
The Evolution of the Kashgar oasis: the archaeological and
environmental record, in Peter Jia (ed.), From Cattle to Camel
Trains: the development of the Silk Roads, The China Studies
Centre, University of Sydney, Brill, Leiden
Di Castro, A.A., 2013. Stupas and Wine: The Artistic Traditions of
the Kashgar Oasis, TAASA, Vol. 22, no. 4, 7-10.
Di Castro, A. A., 2008. The Mori Tim Stupa Complex in Kashgar
Oasis, East and West, IsIAO, Rome, December, Vol. 58, nos. 1-4,
257-282
Fletcher Roland, 2012, Low-density, agrarian-based urbanism:
scale, power, and ecology, in Michael E. Smith (ed.), The
Comparative Archaeology of Complex Societies, Cambridge
University Press, Cambridge
Qadir, A. et al, 2007. The 2000 Brief Report on the Excavation
of Yawaluk, Kashgar,Cultural Relics of Xinjiang,Vol. 67-68,
nos. 3-4,pp. 54-57. English translation from Chinese by Monash
Kashgar Research Project
Vicziany, M. and Di Castro, A. A. (forthcoming 2015), The Kashgar
Oasis: Reassessing the Historical Record, in Peter Jia (ed.), From
Cattle to Camel Trains: The Development of the Silk Roads, The
China Studies Centre, University of Sydney, Brill, Leiden.
Watt, James C Y et al., 2004. China: Dawn of a Golden Age,
200-750 A.D., The Metropolitan Museum of Art, New York.
Marika.Vicziany@monash.edu
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Quran, copied by Ismail b. abdallah, Makassar, Sulewesi Island, Indonesia, 1804. Ink, watercolour and
gold on paper. Folio 34.5x21.5 cm. Collection of the Aga Khan Museum. Photo:Gerald Friedli
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Beggars Bowl (Kashkul), Iran, late 16th century. Engraved brass. Length 61 cm. Collection of the Aga Khan Museum.
Photo:Sean Weaver
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Newly-built atrium connecting the City Hall and former Supreme Court buildings, 2015.
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C O L L E C T O R S C H O I C E : T W O T I B E TA N T S A K L I
Boris Kaspiev
Two tsakli, Tibet, 13th - 14th century. Mineral pigment on card, script on reverse. Courtesy: Boris Kaspiev Collection
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REFERENCES
Kerin, M., 2009. Artful Beneficence. Rubin Museum of Art, New York
Leonov, G., 1992. The Rite of Consecration in Tibetan Buddhism,
Arts of Asia September-October 1992, Hong Kong
Pal, P. and Meech-Pekarik, J., 1988. Buddhist Book Illuminations.
Ravi Kumar, New York
Powers, J., and Templeman, D., 2012. Historical Dictionary of
Tibet. Scarecrow Press, UK
Templeman, D., 2006. Personal correspondence.
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S TATE OF P LAY A N D C O N T E M P O R A R Y C H I N E S E A R T A T T H E W H I T E R A B B I T
G A L L E R Y, S Y D N E Y
Sabrina Snow
Never Grow Up No.1, 2008, Yu Xiao, China. Chromogenic colour print, 100x100cm. White Rabbit Collection
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Cigarette Ash Landscape, 2013, Yang Yongliang, China. Pigmented inkjet prints, cardboard,
paper, wire, polyurethane foam, cigarette, 507x43x43cm, base 250x250cm. White Rabbit Collection
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B O O K R E V I E W: B U D D H I S T A R T O F M YA N M A R
Charlotte Galloway
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I N T R O D U C I N G D R S T E P H E N W H I T E M A N , L E C T U R E R I N A S I A N A R T H I S T O R Y,
SYDNEY UNIVERSITY
Josefa Green
met Stephen Whiteman at his Sydney
University office to discuss his scholarly
interests, his current work at Sydney
University and his views on the future of
Asian art studies in Australia.
TA A S A R E V I E W V O L U M E 2 4 N O. 3
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TAASA IN SYDNEY
TAASA Archaeology in Asia Lecture Series
Casting for the King The Royal Palace
Bronze Workshop of Angkor
1 June 2015
Martin Polkinghorne, Research Fellow in
the Department of Archaeology, Flinders
University of South Australia began his talk
by giving an overview of the valuable work
being undertaken by Sydney University
archaeologists who have excelled in
exploring patterns of occupation at Angkor
through the use of new technology such as
LIDAR. This is a remote sensing technique
combining radar and laser technology, which
can assist in visualising surface features not
easily identified at ground level (for example
because most sites are covered by jungle).
Martin discussed how his own work at
Angkor has focused on exploring its material
culture how Angkor was built and the craft
economy that made this possible. His search
for indicators such as extant raw materials,
quarries, workshops and unfinished
sculptures led him to uncover a workshop
northeast of the palace at Angkor Thom
which suggested (for example by a fragment
of wall furnace) that this was a foundry, the
first bronze sculpture workshop found in
Southeast Asia.
Josefa Green
Urbanising the Inner Asian Steppe:
Tang architectural influence on the
Eastern Uighur Khaganate
Uighur-Tang China Architectural Exchange
6 July 2015
Dr Lyndon Arden-Wong presented the last
of the five presentations in this very well
attended series.
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TAASA IN VICTORIA
Preview of Mossgreens Autumn
Auction Series
11 June 2015
TAASA members joined other guests at a special
preview of Mossgreens Autumn auction. We
were able to view and handle a fascinating and
eclectic range of ceramics, jades, bronzes and
other decorative items. TAASA appreciates
Mossgreens hospitality for this event.
Walk through of exhibition Gods, Heroes
and Clowns: Performance and Narrative in
South and Southeast Asian Art
25 June 2015
Carol Cains, Curator of Asian Art, led
members on a tour of the NGVs exhibition.
Carols commentary brought the exhibition
to life, with its complex narratives, traditions
and images, especially those from great Hindu
epics, the Mahabharata and the Ramayana.
Some of the works on display had never
previously been exhibited, and were specially
conserved for this exhibition. See Carols
article in the June 2015 issue of TAASA Review.
TAASA QLD members Win Lee, Anne Kirker and Bob Kirker
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TA A S A M E M B E R S D I A R Y
SEPTEMBER NOVEMBER 2015
TAASA IN NSW
TAASA Symposium:
The Magic of Metal: Jewellery Traditions
in Asia
Saturday 19 September 2015, 10am 1pm
UNSW Art & Design (COFA),
Paddington, Sydney
Lecture theatre EG02
The focus of this symposium is jewellery
crafted from metal by peoples of mainland
Southeast Asia and Korea. The objects
themselves, the traditional techniques
by which they were crafted and how
contemporary craftsmen adapted these
techniques will be explored. The forming
of collections - the challenges and hazards
- will contribute an illuminating narrative
to these presentations.
Speakers: Wendy Parker (UNSW Art &
Design), Truus Daalder (Collector and
major lender to A Fine Possession exhibition
at PHM), Min-Jung Kim (Curator Asian
Arts & Design, Museum of Applied Arts
& Sciences).
$45 members: $50 non-members.
Refreshments available.
Enquiries and bookings: Jillian Kennedy
at taasabookings@gmail.com or tel:
02 9958 7378
Please note new date.
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NSW
James Nguyen: Exit Strategies
4A Centre for Contemporary Asian Art,
Haymarket Sydney
4 September- 10 October2015
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