Volume 48 – Number 4
Among the holdings of the UC Berkeley Art Museum and Pacific Film Archive is a rich collection of Indian paintings, a selection of which will be on view this summer. This issue begins with Robert J. Del Bontà’s discussion of eight of the works, chosen to represent a variety of styles and periods. George Kates is a name well known among Chinese furniture aficionados, and John A. Roote elucidates his role in introducing it to the West. Claire Blakey explains how a group of early 20th century Chinese porcelains found a home in Stoke-on-Trent, while Mina Kim reveals how the Chinese modern artist Pan Tianshou came to develop his own, individual style.
A very different type of Chinese painting style is represented by an early depiction of foreign factories in Canton; Libby Lai-Pik Chan contextualizes the painting, which is the collection of the Hong Kong Maritime Museum. Nanhee Lee and Menno Fitski shed light on the value of the Rijksmuseum’s Goryeo sutra box for the study of crosscultural adaptations. And Kathleen Yang presents her latest findings in support of her view that Riverbank is a genuine painting by Dong Yuan.
In our ‘Artists as Collectors’ series, Tiffany Wai-Ying Beres interviews Zheng Chongbin about his creative inspiration. The spotlight is on Tianlong Jiao in ‘Curator’s Choice’, while for ‘Art in Context’, Thierry Mathou introduces his project to revive the Bhutanese tradition of the portable shrines called tashi gomang. We also review the exhibition ‘Cosmic Buddhas in the Himalayas’ at the Met.