Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
1 M A R C H 2 0 1 3
the journal of
the asian arts society
of australia
TAASA Review
c o n t en t s
Volume 22 No. 1 March 2013
3 Ed itor ial
TAA S A R E V I E W
John Tidmarsh
Jim Masselos
Lesley Pullen
William Gourlay
Thienny Lee
20
Khanh Trinh
Anne Kirker
26
John Yu
27
BOO K REVIEW: BA LI N E S E A R T
$70
$90
$95
$35
a dvert i s i ng RAT E S
TAA S A c o mm i t t ee
E DITORIAL
G i ll Gr een President
U N C O V E RI N G AL E X A N D E R S LO S T C ITI E S
John Tidmarsh
Pella, Jordan. Uncovering the Hellenistic levels. Photo: John Tidmarsh, 2011
TA A S A R E V I E W V O L U M E 2 2 N O. 1
TA A S A R E V I E W V O L U M E 2 2 N O. 1
Jebel Khalid, Syria. The Domestic Insula (the Euphrates River in the background). Photo: Bob Miller, 2005
REFERENCES
Bernard, P., 1982. An Ancient Greek City in Central Asia,
Scientific American 246, no. 1, 148159.
Clarke, G.W. et al., 2002. Jebel Khalid on the Euphrates I. Report
of the Excavations 19861996, Mediterranean Archaeology
Supplement 5, Sydney.
Jackson, H., 2006. Jebel Khalid on the Euphrates II. The Terracotta
Figurines, Mediterranean Archaeology Supplement 6, Sydney.
Jackson, H & Tidmarsh, J., 2011. Jebel Khalid on the Euphrates III.
The Pottery, Mediterranean Archaeology Supplement 7, Sydney.
Rapin, C., 1990. Greeks in Afghanistan: A Khanum in
Descudres, J-P. (ed.), Greek Colonists and Native Populations
: Proceedings of the First Australian Congress of Classical
Archaeology Held in Honour of Emeritus Professor A.D. Trendall,
Sydney, 9-14 July 1985,Canberra, 329342.
Tidmarsh, J., How Hellenized was Pella in Jordan in the Hellenistic
Period? Studies in the History and Archaeology of Jordan VIII
(2002), 459-468.
TA A S A R E V I E W V O L U M E 2 2 N O. 1
A PAGE FROM THE DESIGN BOOK OF THE COURT EMBROIDERERS OF KUTCH. GOUACHE ON PAPER (FIG. 1). PHOTO: JIM MASSELOS
TA A S A R E V I E W V O L U M E 2 2 N O. 1
A PAGE FROM THE DESIGN BOOK OF THE COURT EMBROIDERERS OF KUTCH. GOUACHE ON PAPER (FIG. 2). PHOTO: JIM MASSELOS
TA A S A R E V I E W V O L U M E 2 2 N O. 1
TWO PAGES FROM THE DESIGN BOOK OF THE COURT EMBROIDERERS OF KUTCH. GOUACHE ON PAPER. PHOTO: JIM MASSELOS
TA A S A R E V I E W V O L U M E 2 2 N O. 1
REFERENCES
Gazetteer of the Bombay Presidency, Vol.V, Cutch, Palanpur, and
Mahi Kantha. 1880. Govt. Central Press, Bombay.
Irwin, J. and M. Hall, 1973. Indian Embroideries. Vol.II.
Ahmedabad, Calico Museum of Textiles.
Jethabhai, Mr Nanalal, the last of the embroiderers to the Kutch
court. Meeting. Feb. 1982. Bhuj, Kutch.
The then HH the Maharani of Kutch, Rajendra Kunver. Meeting.
Feb. 1982. Bombay.
Postans, Marianna, 1839. Cutch; or Random Sketches London,
Smith, Elder & Co.
T E X TIL E D E S I G N S I N S TO N E : T H E L E G A C Y O F M E DI E V AL J A V A N E S E S C U L P T U R E
Lesley Pullen
STATUES OF PRAJNAPARAMITA C.1300. (L) FROM MUARAJAMBI, JAMBI, SUMATRA, STONE, 80CM (H). ON-SITE MUSEUM,
CANDI MUARAJAMBI, SUMATRA, INDONESIA. PHOTO: L. PULLEN (R) FROM CANDI E AT CANDI SINGOSARI, MALANG, EAST JAVA, STONE, 1.26M (H).
MUSEUM NASIONAL, JAKARTA. IMAGE AFTER J. FONTEIN SCULPTURE OF INDONESIA, HARRY N. ABRAMS, NY 1990
10
(L) DETAIL OF SASH ON THE MUARAJAMBI PRAJNAPARAMITA. (R) DETAIL OF SINGOSARI PRAJNAPARAMITA
DEPICTING THE KAIN AND OVERLAYING SASH. PHOTO: L. PULLEN
TA A S A R E V I E W V O L U M E 2 2 N O. 1
NANDISVARA, C.1300, STONE, 1.74M (H) FROM THE TOWER-TEMPLE AT CANDI SINGOSARI,
MAHAKALA, C.1300, STONE, 1.70M (H), FROM THE TOWER-TEMPLE AT CANDI SINGOSARI,
TA A S A R E V I E W V O L U M E 2 2 N O. 1
11
DURGA MAHISHASURAMARDINI, C.1300, STONE, 1.75M (H), FROM THE TOWER-TEMPLE AT CANDI SINGOSARI,
EAST JAVA. RIJKSMUSEUM VOLKENKUNDE, LEIDEN, NETHERLANDS. PHOTO: L. PULLEN
12
REFERENCES
Bernert Kempers, A.J, 1933. The Bronzes of Nalanda and HinduJavanese Art, late E.J.Brill Ltd, Leiden.
Bernet Kempers, A.J., 1959. Ancient Indonesian Art, C. P. J. van der
Peet, Amsterdam.
Brandes, J.L.A., 1909. Beschrijving van Tjandi Singasari
[microform)]. s-Gravenhage: M. Nijhoff; Albrecht & co, Batavia.
Chutiwongs, N., 2004. Candi Singasari-A Recent Study, in
I.C.Glover, E.A. Bacus, and P.D.Sharrock (ed.), Interpreting
Southeast Asias Past, Monument Image and Text , British Museum:
NUS, 100-21.
Green, G., 2007. Angkor Vogue: Sculptured Evidence of Imported
Luxury Textiles in the Courts of Kings and Temples, Journal of the
Economic and Social History of the Orient, 5, 424-51.
Inam Selvanayagam, G., 1990. Songket Malaysias Woven
Treasure, Oxford University Press, Singapore.
Kinney, A.R., 2003. Worshipping Siva and Buddha, The Temple Art
of East Java, University of Hawaii Press, Honolulu.
Miksic, J., 2010. The A to Z of Ancient Southeast Asia, The
Scarecrow Press Inc, Plymouth, UK.
Miksic, J., September 2010. The Buddhist-Hindu Divide in
Premodern Southeast Asia, Nalanda-Srivijaya Centre, Working
Paper Series No.1.
Pal, P., 2001. Desire and Devotion, Art from India, Nepal and Tibet,
ed. The Walters Art Museum Philip Wilson Publishers, Baltimore.
Reichle, N., 2007. Violence and Serenity, Late Buddhist Sculpture
from Indonesia, University of Hawaii Press, Honolulu.
Schroeder von, U., 2008. 108 Buddhist Statues in Tibet, Chichago:
Serindia Publications Inc.
Tarling, N (ed.), 1999. The Cambridge History of Southeast Asia,
Volumne, From early times to c.1500, Cambridge University Press,
Cambridge.
TA A S A R E V I E W V O L U M E 2 2 N O. 1
T U R K E Y S H A S A N K E Y F : T H E P LI G H T O F AR C H A E OLO G I C AL
A N D AR C H IT E C T U RAL TR E A S U R E S I N S O U T H E A S T A N ATOLIA
William Gourlay
he Tigris and the Euphrates, the rivers
of ancient Mesopotamia, rise in the
southeast of Anatolia, a remote corner of
Turkeys Asian hinterland. Designated the
Fertile Crescent, this is also a region where
peoples and civilisations have long clashed,
coalesced and overlapped. The result of
millennia of human interaction is a complex
cultural patchwork and a stunningly diverse
archaeological and artistic legacy on display
at multiple sites across the region.
TIGRIS RIVER, HASANKEYF, TURKEY REMAINS OF ARTUKLU BRIDGE (1116) IN FOREGROUND PHOTO: WILLIAM GOURLAY
14
TA A S A R E V I E W V O L U M E 2 2 N O. 1
TA A S A R E V I E W V O L U M E 2 2 N O. 1
15
GRAVESTONES, HASANKEYF CITADEL, TURKEY (PROBABLY AYYUBID,EARLY 15TH CENTURY) PHOTO: WILLIAM GOURLAY
16
REFERENCES
Bolz, Diane M., 2009. Endangered site: the city of Hasankeyf,
Turkey, Smithsonian, Volume 39 (12)
Dogan, Yonca Poyraz. Civil society keeps up challenge to protect
TA A S A R E V I E W V O L U M E 2 2 N O. 1
PARANG (KNIFE)
TA A S A R E V I E W V O L U M E 2 2 N O. 1
COURTESY T. LEE
17
TWO SARONGS DECORATED WITH PARANG BATIK DESIGN. JAVA, INDONESIA. 19TH CENTURY. COTTON. LEFT: 218CM (L) X 118CM (W).
RIGHT: 234CM (L) X 85CM (W). FROM THE COLLECTION OF SIR STAMFORD RAFFLES. THE TRUSTEES OF THE BRITISH MUSEUM
18
TA A S A R E V I E W V O L U M E 2 2 N O. 1
TA A S A R E V I E W V O L U M E 2 2 N O. 1
REFERENCES
Boow, Justine, 1988. Symbol and Status in Javanese Batik. Asian
Studies Centre, University of Western Australia.
Chu, Leo, 2012. The Forbidden Pattern - Operation of Patterns in
Space, unpublished paper.
Fraser-Lu, Sylvia, 1986. Indonesian Batik: Processes, Patterns and
Places. OUP Australia and New Zealand.
Ishwara, Helen, Supriyapto Yahya L.R. & Moeis Xenia, 2012. Batik
Pesisir, An Indonesian Heritage, collection of Hartono Sumarsono,
MADAGASCAR: ISLE OF
BIODIVERSITY
22 May 14 June 2013
Archaeologists believe that people first arrived in
Madagascar from Indonesia and Malaya about 2000
years ago. Before this, Madagascar evolved over
millions of years in isolation. The result is a country
like no other, an incongruous mixture of wildlife
and culture with an unparalleled array of plants
and animals found nowhere else. Dr Steven
Goodman, resident since 1989, recognised
expert in Malagasy biodiversity and perhaps the
countrys finest field biologist, is our program leader.
Limited places available.
Land Only cost per person twinshare
ex Antananarivo $7200
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
19
S O U L O F S I M P L I C I T Y K OR E A N C E RA M I C S E X H I B ITIO N AT T H E A G N S W
Khanh Trinh
MELON-SHAPED EWER WITH INCISED DESIGN OF LOTUS SCROLLS, GORYEO PERIOD, 1100s,
CELADON, THE MUSEUM OF ORIENTAL CERAMICS, OSAKA (GIFT OF THE SUMITOMO GROUP)
20
TA A S A R E V I E W V O L U M E 2 2 N O. 1
RECTANGULAR PILLOW WITH INLAID DESIGN OF PEONIES AND CRANES, GORYEO PERIOD, 1200s,
CELADON, THE MUSEUM OF ORIENTAL CERAMICS, OSAKA (GIFT OF THE SUMITOMO GROUP)
TA A S A R E V I E W V O L U M E 2 2 N O. 1
21
FLASK WITH DESIGN OF AUTUMN FLOWERS AND DRAGONFLY, JOSEON PERIOD, 1700s, BLUE-AND-WHITE PORCELAIN,
THE MUSEUM OF ORIENTAL CERAMICS, OSAKA (GIFT OF THE SUMITOMO GROUP)
22
REFERENCES
Ito Ikutaro and Mino Yutaka (eds), 1991. The radiance of jade and
the clarity of water: Korean ceramics from the Ataka collection.
Chicago, IL: Art Institute of Chicago ; New York : Hudson Hills Press.
Kang Kyung-sook, 2008. Korean ceramics. Korean culture series
12. Seoul: Korea Foundation..
Kim Kumja Paik (ed), 2003. Goryeo dynasty : Koreas age of
enlightenment, 918-1392. San Francisco : Asian Art Museum.
Lee Soyoung (ed), 2009. Art of the Korean renaissance, 14001600. New York: Metropolitan Museum of Art ; New Haven ;
London: Yale University Press.
Pak Youngsook and Roderick Whitfield, 2003. Earthenware and
celadon. Handbooks of Korean art. London : Laurence King.
Roberts, Claire and Michael Brand (eds). 2000. Earth, spirit, fire:
Korean masterpieces of the Choson dynasty (1392-1910). Sydney:
Powerhouse Publishing; Brisbane: Queensland Art Gallery.
TA A S A R E V I E W V O L U M E 2 2 N O. 1
A P T : M OR E T H A N A S P E C TA C L E
Anne Kirker
SOUL UNDER THE MOON 2002, YAYOI KUSAMA, JAPAN. MIRRORS, ULTRA VIOLET LIGHTS, WATER,
PLASTIC, NYLON THREAD, TIMBER, SYNTHETIC POLYMER PAINT. 340 X 712.1 X 600CM (INSTALLED).
THE KENNETH MYER & YASUKO MYER COLLECTION OF CONTEMPORARY ASIAN ART. QUEENSLAND ART GALLERY
umerous
commentators,
including
the preview by Russell Storer in the
December 2012 issue of TAASA Review, have
written on APT 7. They have pointed to the
breadth of the exhibition: the way it occupies
the entire Gallery of Modern Art (GOMA),
as well as much of the older building of
Queensland Art Gallery (QAG); they describe
the visual impact of the exhibits, their cultural
origins and the ways in which Australia now
relates to the broader Asia Pacific region.
Representing some 75 artists and artist
groups from 27 countries, this is an enormous
enterprise. John McDonald, writing for The
Sydney Morning Herald (22 December 2012)
observed the ascendency of the Pacific in
APT 7 through the Papua New Guinea items
featured in the central atrium of GOMA,
and the way geographical boundaries have
been stretched to accommodate West Asian
practitioners.
24
TA A S A R E V I E W V O L U M E 2 2 N O. 1
WITH OR WITHOUT NAME SHE WAS BLUE AND WHO KNEW WHEN SHE WOULD SLIP INTO ANOTHER MOOD FOR HER UNDERSTANDABLE
UNWILLINGNESS TO DO, TO SPEAK TO, TO FEEL AND DETERMINE HER NEXT MOVE RESTS IN HER NEST AS WOULD A REFUGEE (DETAIL) 2009,
RINA BANERJEE, INDIA/USA B.1963, METAL STRUCTURE, FEATHERS, FABRIC, SHELLS, BELLS, SKULL,176 X 94 X 73CM.
IMAGE: COURTESY THE ARTIST AND GALERIE NATHALIE OBADIA, PARIS
TA A S A R E V I E W V O L U M E 2 2 N O. 1
25
REFERENCES
Bui Minh Tri and Kerry Nguyen-Long, 2001. Vietnamese Blue and
White Ceramics-Social Science Publishing House, Ha Noi.
John Stevenson and John Guy, 1997. Vietnamese Ceramics, a
separate tradition. Avery Press, Chicago.
PLATE WITH FISH AMONG WATER, VIETNAMESE C.15TH/16TH CENTURY, STONEWARE WITH UNDERGLAZE
COBALT BLUE DESIGN AND CLEAR GLAZE. 22.7CM (D). COLLECTION: JOHN YU
COBALT BLUE DESIGN AND CLEAR GLAZE. 23.5CM (D). COLLECTION: JOHN YU
26
TA A S A R E V I E W V O L U M E 2 2 N O. 1
B OO K R E V I E W: B A L I N E S E A R T
Niki van den Heuvel
TA A S A R E V I E W V O L U M E 2 2 N O. 1
27
R E C E N T TAA S A A C TI V ITI E S
28
TA A S A R E V I E W V O L U M E 2 2 N O. 1
TA A S A R E V I E W V O L U M E 2 2 N O. 1
29
TAA S A M E M B E R S DIAR Y
M A R C H 2 0 1 3 MAY 2 0 1 3
TAASA Symposium:
From Beginner to Expert
Saturday 9 March 2013, 10.15am 3.45pm
Sydney Mechanics School of Arts,
280 Pitt Street Sydney
For Asian art enthusiasts, including those
starting to collect Asian art or with an
established collection. Topics include: how
do I go about building my collection, how
do I find out more? Plus the issues of fakes,
pricing, conservation and display. A Q&A
session rounds off the day and pieces from
presenters collections will be on display.
Confirmed speakers are:
Michael Abbott, QC, on his experiences as
a collector of Southeast Asian and Indian art.
Paul Sumner, Managing Director,
Mossgreen Auctions, on the changing
commercial market in Australia for
artefacts and works of art.
Brigitte Benziger & David Hulme, fine
art appraisers, on the opportunities and
pitfalls of collecting.
Todd Sunderman, collector of antique
Tibetan furniture, on becoming an expert
in a specialised field.
Raimy Che-Ross, collector of Malay
silverware.
Donna Hinton, Head of Objects
Conservation at the Art Gallery of NSW.
30
Congratulations to Margot Yeomans from Victoria, winner of our lucky draw for
members who responded to our questionnaire before 31 December 2012. Margot will
get her membership fee for 2013 reimbursed. Further responses to our questionnaire
are very welcome.
TA A S A R E V I E W V O L U M E 2 2 N O. 1
W H AT S O N I N A U S TRALIA : M A R C H 2 0 1 3 M A Y 2 0 1 3
A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS
Compiled by Tina Burge
NSW
VICTORIA
Melbourne
Anish Kapoor
Contemporary Art
Ongoing
TA A S A R E V I E W V O L U M E 2 2 N O. 1
31