Volume 43 – Number 4
In this issue, Orientations takes an in-depth look at a variety of singular artworks with unusual historical backgrounds. Lothar Ledderose relates how a curious tobacco box came to symbolize the enduring friendship that developed between two 20th century men of letters in Tokyo. Anita Chung presents a stylistic analysis of an early Chinese lacquer box recently acquired by The Cleveland Museum of Art. Cole Roskam discusses the scale and significance of the Tushanwan Workshop Pagoda Collection, an ambitious, somewhat eccentric project undertaken in the early 20th century by a Jesuit monk in Shanghai.
We also focus on photographer and conceptual artist Hiroshi Sugimoto, who talks about his work, career and inspiration with Frank Feltens. Sylvan Barnet and William Burto reflect on Kegon Waterfall, one of Sugimoto’s best-known works.
In other features, Mary-Ann Milford-Lutzker reviews Audrey Whitty’s catalogue of the Albert Bender Collection at the National Museum of Ireland, and we cover highlights of a recent Asia Society symposium on collecting Asian art. In our commentary, Paul A. Lavy scrutinizes the ongoing tug-of-war between Cambodia and Thailand over Preah Vihear, an invaluable cultural heritage site at the centre of a border dispute.