Volume 51 – Number 1
Also including collaborative works—this time between female embroiderers and male painters serving the Korean court, and between male elite painters and male working-class embroiderers working together beyond the court—is the exhibition ‘Golden Needles: Embroidery Arts from Korea’, taking place at The Cleveland Museum of Art from 8 March to 26 July 2020. Sooa Im McCormick explains how embroidery served to empower women to overcome social constraints, and how men and women cooperated across class and gender to produce works of pictorial beauty.
Pictorial elements were also integrated into the tradition of Chinese cartography, and Diana Lange introduces a large pictorial map of the pilgrimage site Wutaishan in the collection of the Museum am Rothenbaum in Hamburg. Meanwhile, John R. Finlay identifies a previously unknown map of the ‘Garden of Perfect Brightness’, the Yuanmingyuan, which reflects a different cartographic style.
Finally, Fletcher Coleman explores the important role that pictorial ink rubbings of Buddhist sculpture at the Chinese cave site of Longmen played in the early study of Asian art in the US.
COVER: Tribute Bearers to the Chinese Emperor (detail of left screen)
By Kano Sanboku (act. mid-17th–
early 18th century), Japan, Edo period
(1603–1868), late 17th–early 18th century
Pair of six-panel folding screens, ink, colour
and gold on paper, each: 165.3 x 355 cm
(Image © Koichi Yanagi Oriental Fine Arts)
(see p. 22)
Detail of Wutaishan sheng jing quan tu (Panoramic Picture of the Sacred Realm of Five-Terrace Mountain) showing Mingyuechi (‘Bright Moon Pond’) and a white stupa, with pilgrims
performing prostrations near rock paintings
China, Qing dynasty (1644–1911),
second half of the 19th century
Pictorial map, ink and pigments
on canvas, 88 x 196 cm
Museum am Rothenbaum
in Hamburg (XX SOAS 408)
(Image © Museum am Rothenbaum in Hamburg)
(see p. 77)