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Volume 47 – Number 2

Mar 2016

A Post-Gupta Buddha
Art of the Kamakura
Manichaean Painting
Namgyal Monastery
Imitation Goryeo Celadon
Interview with Peng Wei


COVER: Detail of Buddha granting protection
Provenance unknown, probably
north India, early 7th century
Copper alloy, height 86.3 cm
Private collection, on loan to
The Metropolitan Museum of Art, New York


Fresh perspectives and hidden treasures are revealed in our first issue of the spring season. John Guy takes a closer look at a post-Gupta Buddha, one of the largest extant Indian medieval metal Buddhist icons, and investigates how it survived through the centuries. Adriana Proser invites us to appreciate the outer beauty of Kamakura Buddhist sculpture and to consider what is concealed beneath the surface. Christian Luczanits’ recent fieldwork in Mustang uncovered an extraordinary collection of portable Buddhist images, which, as he explains, mirror the history of the remote region and its connections with the western Himalayas, the Kathmandu valley and the Sakya school. Following on from our November/December 2015 issue on imitation ceramics, Jung Eunjin’s research into early 20th century reproductions of Goryeo celadon augments our understanding of the phenomenon in Korea. Miki Morita’s analysis of a 14th century Buddhist mandala points to its possible Manichaean origins, providing new clues as to the practice of Manichaeism in southern China. And in the third article in our series on the Burke Collection, Aaron Rio looks at a small but important selection of medieval ink paintings, now gifted to the Metropolitan Museum and Minneapolis Institute of Arts. In Beijing, Tiffany Wai-Ying Beres meets contemporary artist Peng Wei to talk about her artistic practice and collecting interests. Rounding up the issue, Tianlong Jiao looks back over a century of Asian art collecting at Denver Art Museum.

 
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