MAR 2013

VOLUME 44 - NUMBER 2

Our cover image is a detail of a handscroll by Xiao Yuncong, one of a number of artists of the late Ming/early Qing period featured in the exhibition ‘The Artful Recluse’, organized by the Santa Barbara Museum of Art and on view this March at Asia Society, New York. Peter Sturman and Seokwon Choi consider how the works selected reflect the political and cultural milieu of their time. Liu Yang analyses recent findings on cross-cultural influences between the Qin state and nomadic tribes, as evidenced in gold artefacts excavated across a wide swathe of Asia.

Asian art collecting in the 20th century is the focus of articles by Fan Jeremy Zhang and Daisy Wang. Zhang reflects on the Smith College Museum of Art’s Asian collection on the occasion of its centenary, while Wang shares with us some of the family photographs of C. T. Loo, gifted to the Freer and Sackler Galleries by Janine T. Loo Emmanuel. Stephen Salel discusses Japanese shunga on view at the Honolulu Museum of Art. In our interview, Jason Steuber catches up with New York designer and collector Dora Wong.

In addition to art-world previews and reviews, we have tributes to Terry Satsuki Milhaupt and Dr S. Y. Kwan by Soyoung Lee and Peter Y. K. Lam. To conclude, Hugh Moss discusses the viewing of a Chinese handscroll, which provides a key to the formulation of a unified theory of art.

FEATURES
Stephen Salel. The Ephemerality of Gender: Nanshoku and Wakashū in Japanese Erotic Art
Daisy Yiyou Wang. Papa’s Pagoda in Paris: The Gift of the C. T. Loo Family Photographs to the Freer and Sackler Galleries
Fan Jeremy Zhang. The Asian Collection at the Smith College Museum of Art: A Centennial Review
Liu Yang. Nomadic Influences in Qin Gold
Seokwon Choi. Man with a Staff: Zeng Jing and Image-making in Late-Ming Painting
Peter C. Sturman. ‘Summoning the Recluse’ – The Relevance of an Ancient Theme
PREVIEWS & REVIEWS
Patricia Karetzky. Exhibition Review: ‘Bound Unbound’
INTERVIEWS
Jason Steuber. Collecting History Before its Time: An Interview with Dora Wong
COMMENTARY
Hugh Moss. An Artist’s Perspective: How Art Works