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Volume 47 – Number 8

Nov/Dec 2016

Shangri La: The Hawai'i Residence of Doris Duke

A Tomb in Bayannuur, Northern Mongolia
'China without Dragons': Rare Asian Ceramics from the Oriental Ceramic Society, London
'Show and Tell': Stories in Chinese Painting at The Metropolitan Museum of Art
'Tales of Our Time' at the Guggenheim Museum: An Interview with the Curators


COVER: Syrian Room
Shangri La
Doris Duke Foundation for
Islamic Art, Honolulu, Hawai‘i
© 2014, Linny Morris, courtesy of the
Doris Duke Foundation for Islamic Art


Our November/December issue spotlights Shangri La, a museum in Honolulu, Hawai‘i that was the former residence of the American heiress Doris Duke (1912–93) and houses her collection of Islamic art. Following an introduction by Shangri La’s Executive Director Konrad Ng, Sharon Littlefield Tomlinson examines the history of the collection, which could be termed idiosyncratic in that Duke largely selected and commissioned works for their visual appeal, contextualizing them within her home and often going against the general trend in collecting. Yumiko Kamada discusses the textiles and carpets in the collection, while Tomoko Masuya focuses on the Ilkhanid period tiles.

Next, Lhagvasuren Erdenebold, Ah-Rim Park and Nancy Shatzman Steinhardt describe a little-published tomb in Bayannuur, northern Mongolia, positing a date and an identification for the burial and situating it within the history of Chinese art and, more broadly, that of the Eurasian continent. Regina Krahl presents some of the works from the Oriental Ceramic Society, London on view in the show ‘China without Dragons’, and Shi-yee Liu introduces some of the narrative paintings in the exhibition ‘Show and Tell’ at The Metropolitan Museum of Art. We also interview the curators of ‘Tales of Our Time’, the second commission of The Robert H. N. Ho Family Foundation Chinese Art Initiative at the Solomon R. Guggenheim Museum, which includes new works by artists from Greater China. The issue concludes with a commentary by Steven B. Gallagher on a legal absurdity that legitimizes the sale of looted antiquities in Hong Kong.

 
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