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Volume 42 – Number 8

Nov/Dec 2011

 


Emperor Qianlong's Poetic Inscriptions on Porcelain
'Masterpieces of Landscape Painting from the Forbidden City' at the Honolulu Academy of Arts
South Asian Galleries at the Museum of Fine Arts, Boston
East Turkestan Paintings
The Bluett Archive
Art of Fung Ming-Chip


Cover: Detail of the base of a plate 
Southern Song dynasty (1127-1279)
Guan ware
Height 3.4 cm, diameter 12 cm
National Palace Museum, Taipei (Guci 013967)


In our last issue of 2011, we address the ways in which art can be used to bridge the past and the present. Yu Peichin examines a group of early ceramics carved with poems by Emperor Qianlong in his effort to connect with his ancestors while embellishing his image for future generations. As Hawaii prepares to host the APEC Leaders’ Summit, Shawn Eichman introduces an historic exhibition in which 56 paintings from the Palace Museum, Beijing are reunited with nineteen counterparts at the Honolulu Academy of Arts. Niklas Leverenz, meanwhile, follows up on his May 2010 article on artistic depictions of Qianlong’s East Turkestan campaign. Laura Weinstein reflects on changing strategies for the display of the South Asian collection at the Museum of Fine Arts, Boston. Dominic Jellinek draws on the Bluett archives for insights into the history of 20th century collecting in Britain. Valerie Doran’s article delves into the work of contemporary ink artist Fung Ming Chip.

In other features, Jane Thurston-Hoskins reviews Emma C. Bunker and Douglas Latchford’s latest book on Khmer arts. We have tributes to Fukushima Keidô, by Patricia Fister, and Sammy Yukuan Lee, by T. June Li. We review recent art events in Japan, and look forward to Asian Art in London. Finally, Anita Christy comments on the conjoining of art and politics in relation to two recent loan exhibitions to the US.

 

 
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