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Copyright of Ido Movement for Culture. Journal of Martial Arts Anthropology is the property of Idokan Poland Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This short piece introduces the special issue 'Partition and the South Asian diaspora: exploring (inherited) memories and creative practices of remembering'. This issue was conceived at the juncture of intersecting commemorations of key historical events – 1947 Partition of British India, 1971 Bangladesh independence and 1972 exodus from Uganda – in South Asia and its diasporas. By bringing together articles focused on practices of commemorating these events, we propose that studying entangled memories of Partition and its associated events in the diaspora provides a distinct perspective, both in terms of creative and cultural practices of remembering and in terms of the construction of diasporic identities and belongings. [ABSTRACT FROM AUTHOR]

East Asian inks are a major component of calligraphy, paintings, and prints in China, Japan, and Korea and are historically made from either pine soot or oil‐lamp soot mixed with a proteinaceous binder. Although the inks from the two different soot sources have different properties in East Asian works of art, no non‐destructive methods to differentiate them scientifically currently exist. Raman spectroscopy (RS) of carbonaceous materials is commonly used to extract information about their properties and has been applied here to East Asian inks. Soots used in making modern inks were collected from 10 sources in China and Japan and analyzed using RS. RS using 405‐, 633‐, and 785‐nm excitation has been able to differentiate pine soot from oil‐lamp soot, also called lampblack. In addition, principal component analysis (PCA) of only 785‐nm Raman spectra has been able to discriminate between two different soots used in a 19th‐century Japanese woodblock printing of Kaishien Gaden. In addition to allowing discrimination between inks on East Asian works of art, these results may be of use to other fields using carbonaceous materials. [ABSTRACT FROM AUTHOR]

‘Expansion Painting: A Visual Essay’ attempts another way of thinking about and through my practice of expansion painting through the form of a visual essay. In Asian art, images and words often come together as one. As can be seen in Chinese ink painting, images and words appear on the same visual plane, suggesting we look equally at both, seeing and reading both image and text. I aim to replicate this equal relationship between images and words in this paper as ‘another’ form of expansion painting. The image/text relationship also aims to reflect the viewers’ ambiguous relationship between their bodies and the work in the installations. [ABSTRACT FROM AUTHOR]

This study examines the significance of the exhibitions of Western arts and crafts organised by Yamanaka & Co., a recognized specialist dealer in East Asian art. The author examined Bijutsu Kōgeihin Tenrankai: Ōbei Saishin Kōan, an exhibition catalogue published in 1928. This catalogue, owned by Yamanaka & Co., shows what was exhibited and the prices of some of the exhibits. The exhibition focused on modern French sculpture and Western artefacts, both of which were small pieces for interior decoration. Yamanaka & Co. presented these works to the creators of Japanese arts and crafts as models to improve the design. They argued that European design imitated Japanese design, whilst developing Japanese elements to the present day and encouraging the improvement of Japanese craft design. President Sadajirō Yamanaka was deeply involved in the collection of the exhibits and in the promotion of the exhibition. After this exhibition, Yamanaka & Co. continued to actively import European crafts, targeting the emerging middle classes of the time. [ABSTRACT FROM AUTHOR]

Copyright of Jurisprudence Faculty Journal / Magallaẗ Kulliyyaẗ Al-fiqh is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Elizabeth Moore, an esteemed professor in the Department of the History of Art and Archaeology at SOAS University of London, has sadly passed away. She was widely recognized for her expertise in Southeast Asian art and archaeology and had been a valued member of the editorial board of Indonesia and the Malay World for over three decades. Moore's research primarily focused on Southeast Asia, with a particular emphasis on Myanmar, Thailand, and Cambodia. Her extensive knowledge encompassed both mainland and maritime regions of the area. Through her publications and teaching, Moore made significant contributions to the field, and she generously donated around 150 objects to SOAS, which are now part of the Teaching and Handling Collection. The text serves as an obituary for Elizabeth Howard Moore, a highly respected scholar and educator in the field of Southeast Asian art and archaeology. The author shares their personal experience as a student in Moore's course and commends her dedication to active engagement and open dialogue. Moore's impact on the study and teaching of Southeast Asia is emphasized, as well as her comprehensive approach to understanding the region's heritage and culture. The author expresses their sorrow at her passing and acknowledges the support and contributions of Moore's family, friends, colleagues, and students in writing the obituary. [Extracted from the article]

The present research concerns the contextualisation and presentation of eleven small statues from the Tang era dated from the XI and XII centuries CE today housed at the Asian Art Museum in Turin (MAO). A multidisciplinary group with expertise in Asian art, digital representation, and information processing systems, with the support of VR@POLITO and MOD Lab Arch of the Politecnico di Torino is involved in the work. The goal is to present together several Tang-era pottery models not belonging to the same funerary outfit within the spaces of a coeval, philologically compatible hypogeal tomb. With a pronounced storytelling intent, the reconstructive 3D model represents a virtual exhibition project summarizing Tang art's architectural, pictorial, and sculptural features. The pipeline was developed through photogrammetric acquisition with Structure from Motion (SfM) technology and 3D modeling of the artworks, reconstructive modeling and texturing of a Tang tomb as the ideal space of the statues, and communication through a virtual reality (VR) experience augmented with a set of information. [ABSTRACT FROM AUTHOR]

Contextualising the 20th-century copies of Koguryŏ-era paintings at the Ferenc Hopp Museum of Asiatic Art in Budapest, one can see that the purpose of making the copies was not only to display and preserve cultural heritage, but also to show that the newly established North Korean state saw in these paintings a renewal of its own national art. The increased attention to ancient wall paintings began with the colonial Japanese, who applied their newly learned scientific methods to archaeological research, uncovering hidden treasures in their colonised territories and expanding their knowledge of their newly acquired territories by making copies of the murals. After the liberation from Japanese rule, North Koreans used the new discoveries to forge a new national identity and a connection to their past, not only focusing on history but also developing new artistic methods (e.g., the large-scale revival of traditional ink painting, communal artworks) while studying and copying them. When copying the paintings, not only the consciously created forms were depicted, but also the damage, so comparing copies made by several artists in different periods over several decades is an important way of tracing the changes in the condition of the paintings. The mass production of reproductions of paintings (often for international use) for exhibitions in Central and Eastern Europe underlines the propagandistic purpose of these paintings and their intention to express the national identity of the time. The visibility of Korean culture in Hungary, represented through North Korean art, has been supported by a strong and conscious cultural policy, especially after the Korean War, when North Korea used its cultural products to promote and publicise Korean art in Central and Eastern Europe, and engaged in fundraising activities to rebuild the country, which had emerged from the ruins of the Korean War in the 1950s. Following conflicts between China and the Soviet Union, diplomatic relations and cultural exchanges between North Korea and the countries of Central and Eastern Europe became increasingly active between 1956 and the 1960s. Artists from North Korea became inspired by 19th century folk and historical art from Central and Eastern European art museums, and instead of the political propaganda images of the early 1950s, they began to produce artworks depicting national, ethnic and local elements. Thus, in the mid-1950s, there was a shift from politically charged propagandistic, anti-imperialist objects (such as political posters) to objects illustrating national art, presenting copies of artworks considered representative of North Korea. [ABSTRACT FROM AUTHOR]

The exhibition "À Portée d'Asie (Asia, Near and Far)" at the Musée des Beaux-Arts de Dijon in France showcased the journeys of collectors who influenced the understanding of Asian art in France. It featured a diverse range of over 350 objects, including Chinese porcelain, Japanese lacquerware, and paintings from various Asian countries. The exhibition aimed to move away from the Parisian-centric view of Asian art and highlight regional collections across France. It also addressed the colonial context and the complex issues surrounding the adoption and appropriation of Asian art. The exhibition focused on Japanese art and Japonisme, exploring the encounter between East and West and the display of Asian arts in private collections and interior decoration. It concluded by examining the systematic accumulation of objects and the colonial nature of missions that led to the symbolic conquest of these items. The exhibition aimed to prompt visitors to question the reception of Asian art in the West and the evolution of these objects within museum collections. [Extracted from the article]

The American industrialist Charles Lang Freer (1854–1919) amassed an outstanding collection of Asian, Near Eastern, and contemporary American art that he bequeathed to the Smithsonian Institution in 1906, together with plans for a museum to house his collection, the Freer Gallery of Art. Deeply influenced by the innovative American artist and Japoniste James McNeill Whistler (1834–1903), Freer envisioned the museum as a holistic setting for his collection, harmonizing aesthetics from both East and West. Freer's meticulous attention to design and detail extended to the mountings for his large collection of Chinese and Japanese paintings. His plans included hiring scroll mounters from Japan to remount over 350 of the paintings onto panels, choosing antique textiles to suit his taste, a taste inspired by antiquarian trends. Together with archival records and textile sample books, an album of photographs and other mementos from the Miura family of mounters recently acquired by the museum elucidates this remarkable achievement and the historical context of Japanese scroll mounting in the late nineteenth and early twentieth century. [ABSTRACT FROM AUTHOR]

The article combines an intersectional approach to trajectories of the Vienna School with a critique of patriarchal patterns of historiography to analyze the international spread of Asian and Islamic art histories. Topics discussed include patriarchal patterns in historiography in the Society of Friends of Asian Art and Culture, patterns and conventions of historiography reflected in feminist, gender and intersectional studies, and comparative careers of successful women and men art historians.

The article focuses on Rabindranath Tagore's philosophy of art, delving into his essays to uncover his vision of art as a reflection of the relationship between an individual and the universe, rooted in humanism, nature, and spirituality. Topics explored include Tagore's upbringing in an environment steeped in various arts, his late start in painting at the age of 67, and his establishment of Santiniketan as a hub for interdisciplinary creativity and innovation.

The article reframes the history of proletarian art beyond narratives of the 1930s through the perspectives of nationalism and socialism and explores the Sino-Japanese relations in modern woodcut print culture. Topics discussed include role of Japanese agents in the development of modern Chinese woodcut print activism, art and politics between Japan and China in print production, the New Woodcut Movement, Asian aesthetics, folk art and modern print, and Japanese and Chinese image novels.

This article discusses the work and legacy of Frederick M. Asher, a scholar of South Asian art and architecture. Asher's final book focused on the site of Sarnath, where the Buddha gave his first sermon, and he emphasized the importance of understanding the people who built and inhabited the site throughout history. The article also highlights a symposium held to celebrate the 60th anniversary of the American Institute of Indian Studies (AIIS), an institution that Asher supported and reshaped during his career. The symposium explored themes of institution building, infrastructure, and interconnections in South Asian art history. The article concludes by acknowledging the contributions of other scholars and honoring the late Kavita Singh, who gave a keynote speech at the symposium. [Extracted from the article]

Shahzia Sikander is a Pakistani-American artist known for her innovative and boundary-breaking work in Central- and South-Asian painting traditions. Her art draws inspiration from various sources, including poetry, politics, folklore, and the tensions between traditional and modern epistemologies. Sikander's work challenges the binaries of the art world and explores colonial histories, movement, and the role of gender. Her art defies categorization and operates in intellectually and epistemically violent spaces, aiming to generate liberation of language and representation. Sikander has exhibited globally and has received numerous awards and recognition for her contributions to contemporary art. [Extracted from the article]

This paper discusses the impact of East Asian philosophical ideas on the origins and development of martial arts. The article argues that the ideas of Daoist philosophy were developed into 'soft styles' or 'internal schools' that are based on the doctrine of 'wuwei' (action through non-action, effortless action) which follows the path of Yin. These styles are in opposition to 'external' or 'hard styles' of martial arts that follow the path of Yang. Daoist philosophy of 'ziran' (naturalness, spontaneity) influenced 'animal' or 'imitation styles' and the paradigm of natural, unplanned, and unforced combat movements. The influence of Buddhism on martial arts is found in techniques of mental tranquillity training for the extreme conditions of combat. The work also shows the significance of Confucianism for the formation of a code of honor for warriors, which includes the ethics of duty and respect. [ABSTRACT FROM AUTHOR]

Turkish art and architecture is developed formed by Turkish culture and philosophy. In this study, the birth of Turkish art, the understanding of art and architecture of the pre-Islamic Turkish states in Central Asia have been the subject of research. While the semi-sedentary lifestyle continued to exist, the art and architecture, which developed during the Uyghur State, which also started a settled life, has been dealt with in a more comprehensive way. The art and architecture of this period are included with their semantic forms. During the Uyghur period, Turkish art was the first established art and had a great influence of the next period. In this context, it has a unique position in Turkish art history. In the last part of the study, the art and architecture of the Uyghur period within the Central Asian Turkish art was examined in terms of aesthetics. The art, architectural structures and Uyghur cities, which express microcosm, both plastic and semantic forms were discussed. The aim of the study is to create the infrastructure of Turkish art and architecture to see its reflections in the following periods and to observe the sustainability of architecture. [ABSTRACT FROM AUTHOR]

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.

The art of wood carving in Uzbekistan is part of the Central Asian art heritage and its origins go back to ancient times. Wood carving is a very prominent skill in Uzbekistan. Every home has at least one wooden item decorated with carvings. Initially, wood carving was used to decorate wooden columns in Uzbekistan, which have been popular in construction in the East since ancient times. Later, they began to use it to decorate objects, starting from little boxes to carved tables. According to archaeological evidences, before the Arab invasion almost every house had an image of a deity, filigree carved from wood above their door. After the 10th century, Uzbek masters moved from the level of carving simple images to more complex ones, such as carving the images of landscapes and flora. Bukhara, Samarkand, Khiva, Tashkent, Fergana were and remain recognized centers of wood carving. Each school has its own special carving technique and patterns. Sometimes just one glance at an object is enough to understand which school it belongs to. This paper exposes the secrets of the development of wood carving art in Uzbekistan starting from historical times to this day, distinguishing different woodcraft schools with their own style depending on their location, especially the school of Samarkand. [ABSTRACT FROM AUTHOR]

This article gives a brief overview of the development of Vietnamese lacquer painting, a unique art form, which came into being due to French and Vietnamese artists collaborating in the 1920s and has continued to flourish throughout the ensuing periods of war and independence. Under-theorised and relatively obscure, the use of layering, combining mixed media and sanding processes, differed from lacquer arts in other Asian countries at the time, and can be used create a spectacular array of textures and finishes. While the impact of the political context on artistic expression has been explored elsewhere, this study has focused on the processes, techniques and modern styles in the context of the global art world. [ABSTRACT FROM AUTHOR]

This article is an obituary for Philippe Gignoux, a prominent scholar in the field of Syriac and Iranian studies. Gignoux's work greatly influenced research on late antique Middle Eastern studies for over sixty years. He was known for his extensive knowledge of languages and writings, particularly in Semitic and Iranian studies. Gignoux's contributions to Syriac studies were highly regarded for their wide range of topics and innovative approaches, opening up new areas of investigation. He was also involved in the development of Iranian studies and played a significant role in the creation of the international journal Studia iranica. Gignoux's dedication to his research and his empathy for the plight of Christians in the Middle East were notable aspects of his career. [Extracted from the article]

Copyright of Journal of Nabo is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)