Documenti di Didattica
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1 M a r c h 2 0 1 5
the journal of
the asian arts society
of australia
TAASA Review
CONTENTS
Volume 24 No. 1 March 2015
3 ED ITOR IAL
TA A S A RE V I E W
Josefa Green
James Bennett
Russell Kelty
12
Gael Newton
16
Hwei-Fen Cheah
19
Margaret White
21
Melanie Eastburn
22
TR AVELLER S C H O ICE : R E V I S I T I N G H I S TO RY I N W E S T BE N G A L
Claudia Hyles
24
Geremie R Barm
25
Gill Green
26
Siobhan Campbell
27
Meredith Hinchliffe
28
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The Asian Arts Society of Australia Inc., its staff, servants or agents.
$80
$90
$95
$35
advertising RAT E S
Bayon style, late 12thearly 13th century, sandstone, 73.8 x 24.2 x 15.6 cm.
Collection: National Museum of Cambodia, Phnom Penh. See p21 in this issue.
F OR OU R N E X T IS S U E IS 1 A P R IL 2 0 1 5
T he deadline for all a Dvertising
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TAASA COMMITTEE
EDITORIAL
G i ll Gr een Pr esident
Sea atlas of the water world: Containing a short description of all the well-known sea coasts of
the earth, newly issued, Arnold Colom, Netherlands, Amsterdam, 1658. Printed by de Nieuwen-brugh, vellum
bound volume, hand-coloured engraving and letterpress on paper, 58.0 x 36.2cm. Royal Geographical
Society of South Australia, State Library of South Australia, Adelaide.
T AA S A R E V I E W V O L U M E 2 4 N O . 1
Ceremonial cloth (palepai), with two ships, Indonesia, 18thearly 19th century, Kalianda district, Lampung, Indonesia, cotton, natural dyes, supplementary weft weave,
paper threads with traces of metallic gilding, 75.0 x 336.0 cm. South Australian Government Grant 1974, Art Gallery of South Australia
T AA S A R E V I E W V O L U M E 2 4 N O . 1
Betel nut box [kinangan], with implements, Indonesia, c.1800, Makassar, box: turtle shell, silver and gold, three oval lidded containers
and pepper leaf holder: gold, slaked lime container with spatula, lime knife and betel nut cutter: gold and silver betel nut cutter
and lime knife: gold, silver, box: 8.0 x 19.5 x 13.5 cm; Current acquisition, Art Gallery of South Australia
The discovery of Australia by Europe was a byproduct of the spice age. The variety of names,
such as Beach (an erroneous transcription
of Marco Polos legendary Lochac), Jave la
Grande (Greater Java), India Meridionalis
(Southern India), and Terra Incognita
(Unknown Land) initially applied to Australia
reflects the early European confusion regarding
its location and size. Nevertheless, the mestizo
Portuguese cartographer, Manuel de Godinho
de Erdia (1563-1623) was so confident of the
eventual settlement of the country that he
even designed the national coat of arms. The
escutcheon featured a dove with a branch of
greenery in its beak, a reference to Noahs ark.
Gerard Mercator (1512-1594), inventor of the
Mercator map projection, conjectured it was
necessary for such a continent to exist in
order to balance the continents of the northern
hemisphere. The geographical uncertainties
ensured that the region became an ideal setting
for satires such as Jonathan Swifts Travels into
Several Remote Nations of the World (1726). The
hero, Lemuel Gulliver, maps the location of
miniature Lilliput somewhere in the Indian
Ocean off the Western Australian coast.
REFERENCES
Da Fonseca, Jos Nicolau, 1878 (2006), An Historical and
Archaeological Sketch of the City of Goa, Thacker & Co., Bombay;
B.R. Publishing Corporation, Delhi
Gunn, Geoffrey C., 2003. First Globalization: The Eurasian
Exchange 1500-1800, Rowman and Littlefield Publishers, Lanham,
Maryland.
Levenson, Jay A., (ed), 2007. Encompassing the Globe: Portugal
and the World in the Sixteenth- and Seventeenth-Centuries, Arthur
M. Sackler Gallery, Smithsonian Institution, Washington, D.C.
Manguin, Pierre-Yves, 2002. The amorphous nature of coastal
TA A S A R E V I E W V O L U M E 2 4 N O. 1
Matchlock hand cannon, with dragon and cloud design (Ryuu ni kumo zu ozutsu), Japan, 18th century, metal, wood, brass, silver. Felton Bequest, 1927,
National Gallery of Victoria, Melbourne
TA A S A R E V I E W V O L U M E 2 4 N O. 1
Sarasa mat for sen-cha tea ceremony, IndiaJapan, 18th c, Coromandel Coast (Tamil Nadu and Andhra Pradesh),
assembled in Japan, cotton, natural dyes, gold, hand-stitched, 63.5 x 76.2 cm, National Gallery of Australia, Canberra
REFERENCES
Bennett, James, Amy Reigle Newland (eds), 2009. The golden
journey: Japanese art from Australian collections, Art Gallery of
South Australia, Adelaide.
Curvelo, Alexandra, 2012. The disruptive presence of the
namban-jin, in early modern Japan, Journal of the economic social
history of the orient, 55(2012)581-602, Koninklijke Brill NV, Leiden.
Graham, Patricia. J, 2007. Faith and power in Japanese Buddhist
art: 1600-2005, University of Hawaii press, Honolulu.
Lidin, Olof G., 2002. Tanegashima: The arrival of Europe in Japan,
NIAS Press, Denmark.
Nagasaki Bukensha, 2011. Nagasaki Okunchi Festival, Nagasaki.
Nelson, John K., 1996. A year in the life of Shinto Shrine,
University of Washington Press, Seattle.
Wilson, Richard L, 2015. From Medicine Pot to Mizusashi:
Appropriating Europe in Japanese Art in Treasure ships: Art in the
age of spices.
Yasunori, Arano, 2005. The formation of a Japanocentric world,
International journal of Asian studies, 2.2 (2005), pp. 185-216,
Cambridge University Press, Cambridge.
TA A S A R E V I E W V O L U M E 2 4 N O. 1
TA A S A R E V I E W V O L U M E 2 4 N O. 1
Influenced
by
European
paintings,
documentary paintings that depict life at the
imperial court such as the celebration of the
Emperors mothers birthday, the Emperor
enjoying the pleasures of life with his court
ladies in a country retreat, the Emperor
receiving Mongolian leaders or foreign tribute
bearers also reflect imperial life in the exhibition.
Qianlong played an important role in his court
academy of art and his palace workshops in
the Forbidden City, Suzhou, Yangzhou and
Guangzhou (Canton). Every work had to
10
TA A S A R E V I E W V O L U M E 2 4 N O. 1
Sacrificial xu vessel with Qianlong reign mark, Qing dynasty, Qianlong period 173695,
porcelain (moon white glaze), 24.3 x 18.5 x 23.3 cm, The Palace Museum, Beijing
TA A S A R E V I E W V O L U M E 2 4 N O. 1
were
also
REFERENCES
Barme, Gerame R. 2008. The Forbidden City, Profile Books,
Great Britain.
Ho, Chuimei and Bronson, Bennet, 2004. Splendors of Chinas
Forbidden City, The Glorious Reign of Emperor Qianlong, The Field
Museum, Chicago.
National Palace Museum, 2013. The All Complete Qianlong,
The Aesthetic Taste of the Qing Emperor Gaozong, National Palace
Museum, Taipei.
Pang, Mae Anna, 1988. Dragon Emperor, Treasures from the
Forbidden City, National Gallery of Victoria, Melbourne.
Rawsk, Evelyn S and Rawson, Jessica (ed.), 2006. China, The Three
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C U R AT O R L A N D R E F L E C T I O N S O N B U I L D I N G T H E N G A S A S I A - PA C I F I C
PHOTOGRAPHY COLLECTION
Gael Newton
12
TA A S A R E V I E W V O L U M E 2 4 N O. 1
Portrait of a boy and girl, Bikaner, Surajmal Studio, c.1900, gift of American friends of
the National Gallery of Australia, inc, New York, NY, USA, made possible with support of Mr David Knaus, 2014
T AA S A R E V I E W V O L U M E 2 4 N O . 1
13
T
A dancing-girl of Bali, resting, Thilly Weissenborn,
c.1925, photogravure 21.1 x 15.9 cm, Collection
14
TA A S A R E V I E W V O L U M E 2 4 N O. 1
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Writing in the Rain, FX Harsono, still from colour video, 2011, Collection National Gallery of Australia
15
16
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Womans wedding jacket c. 1900. Java, Indonesia. Collection of the Asian Civilisations Museum, Singapore
TA A S A R E V I E W V O L U M E 2 4 N O. 1
17
Bogor, Indonesia
18
REFERENCES
van Doren, Jan Baptist, 1860. Herinneringen en schetsen van
Nederlands Oost-Indie, vol. 2. J.D. Sybrandi, Amsterdam.
TA A S A R E V I E W V O L U M E 2 4 N O. 1
TA A S A R E V I E W V O L U M E 2 4 N O. 1
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20
REFERENCES
Handa OC, 2001. Temple Architecture in the Western Himalaya,
Wooden Temples, Indus Publishing Company, New Delhi.
Sharma S. and Sharma P. Traditional and Vernacular buildings are
ecological, sensitive responsive designs Study of Himachal Pradesh,
International Journal of Chemical, Environmental and Biological
Sciences (IJCEBS), Volume 1 Issue 4 (2013).
TA A S A R E V I E W V O L U M E 2 4 N O. 1
I N T H E P U B L I C D O M A I N : CA M B O D I A N L O A N S T O T H E N G A
Melanie Eastburn
Churning of the Sea of Milk, Svay Rieng, Cambodia, Angkor period, mid to late 10th century,
sandstone, 52.5 x 139 x 20 cm. Collection: National Museum of Cambodia, Phnom Penh
TA A S A R E V I E W V O L U M E 2 4 N O. 1
REFERENCES
Jean Boisselier, 1989. Trends in Khmer art, Southeast Asia Arts
Program, Cornell University, New York. (transl. by Natasha
Eilenberg and Melvin Elliott)
21
T R AV E L L E R S C H O I C E : R E V I S I T I N G H I S TO RY I N W E S T B E N G A L
Claudia Hyles
A truck loaded with jute, Guptipara District, Hugli. Photo: Claudia Hyles.
22
TA A S A R E V I E W V O L U M E 2 4 N O. 1
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REFERENCES
Das, Neeta and Llewellyn-Jones, Rosie (eds), 2013. Murshidabad,
Forgotten Capital of Bengal, The Marg Foundation, Mumbai 2013
Mehta, Vinod (ed-in-chief), 2008. Weekend breaks from Kolkata.
Outlook Publishing, New Delhi
Taylor, Joanne, 2012. The Forgotten Palaces of Calcutta. Niyogi
Books, New Delhi
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TA A S A R E V I E W V O L U M E 2 4 N O. 1
B O O K R E V I E W : B U R M E S E M A N U S CR I P T B I N D I N G T A P E S
Gill Green
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25
B O O K R E V I E W: L E M PA D O F B A L I
Siobhan Campbell
26
material culture.
TA A S A R E V I E W V O L U M E 2 4 N O. 1
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A T T AA S A ' S E N D O F Y E AR P AR T Y I N S Y D N E Y
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TAASA IN VICTORIA
TA A S A R E V I E W V O L U M E 2 4 N O. 1
Mnmonikos Oikogneias
(A Family Remembered)
10 March 2015
Marianne Hulsbosch will explore a selection
of the Asian-inspired textile sculptures she
made, that formed part of a larger body
of objects entitledFamily exhibited in
Australia, theNetherlands and the US.
Asian Influences in Australian
Indigenous Textiles
14 April 2015
Di Stevens, owner/curator of the Tali
Gallery in Rozelle, discusses howAsian
inspirations have influenced traditional
and modern Australian Indigenous
artefacts and textiles.
Indigo: A Universal Obsession
12 May 2015
In this illustrated talk,Margaret White
introduces us to the magic of Indigo dye
and why its shades engender cultstatus.
TAASA CERAMICS STUDY GROUP
The Greenware Ceramic Tradition
Tuesday 3 March, 6 8pm
COFA, Oxford St, Paddington, Sydney
(Elwyn Lynn Meeting Room Block G,
level 1)
We explore the various greenware ceramic
traditions across Asia with Merran Esson,
Head of Ceramics at the National Art
School, Sydney who will provide an
outline of the materials and processes
involved in their production. Members are
invited to bring along an example from
their collection (historic or contemporary)
to discuss with the group.
Light refreshments. $15 members;
$20 non-members. Payment at the door.
Bookings to Gill Green at: gillians@
ozemail.com.au. or 0466 977 313.
Please advise when booking if you intend
to bring along ceramic pieces. Brief
guidelines to assist in presenting these
pieces can be obtained from Gill Green.
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W H A T S O N : M ARCH 2 0 1 5 M A Y 2 0 1 5
A S E L E C T I V E R O U N D U P O F E XH I B I T I O N S A N D E V E N T S
Compiled by Tina Burge
ACT
The story of Rama: Indian miniatures from
the National Museum, New Delhi
National Gallery of Australia, Canberra
End April/May (TBA) 23 August 2015
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SOUTH AUSTRALIA
48HR INCIDENT
4A Centre for Contemporary Asian Art, Sydney
TA A S A R E V I E W V O L U M E 2 4 N O. 1
archaeology in asia
A series of TAASA lectures by eminent specialists
Venue: Sydney Mechanics School of Arts, 280 Pitt Street Sydney
Marika Vicziany, Emeritus Professor, and Angelo Andrea Di Castro, Senior Lecturer,
Monash Asia Institute, Melbourne.
A comparison of the oasis environment of western China (c.100 - 800 CE) with the
monsoon civilisations of Bagan, Anuradhapura and Angkor.
Archaeology in China
Speaker to be confirmed
H E R I TA G E D E S T I N AT I O N S
PO Box U237
University of Wollongong NSW 2500 Australia
p: +61 2 4228 3887 m: 0409 927 129
e: heritagedest@bigpond.com
TA A S A R E V I E W V O L U M E 2 4 N O. 1
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
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