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Abstract: In his Cotton (Figures 1 and 2) and Silkworms and Mulberry (Figures 3 and 4), the fifteenth-century Chinese poet and painter Sun Ai 孫艾 (ca. 1452–1536) created visual interest by using blue for the leaves sprouting from a mulberry (Morus a.) branch as well as for the entire cotton plant (Gossypium). According to a catalog published by the Palace Museum, Beijing, the blue in those two paintings came from the plant Indigofera, which produces indigo, the most common blue dye in traditional Chinese painting; however, indigo rarely dominated the pictorial motifs in Chinese painting to the extent seen here.1 As for the meaning of this unusual coloration, the inscription and poems by the poet and painter Shen Zhou 沈周 ... Read More PubDate: 2023-05-11T00:00:00-05:00
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Abstract: The medieval monk-painter Sesshū Tōyō 雪舟等楊 (1420–ca. 1506) occupies an exalted place in the history of Japanese art. While contemporary sources reveal that Sesshū was, indeed, a known and respected painter during his lifetime, the painter's heroization occurred largely during the early modern (late sixteenth–nineteenth c.) period, and specifically within the discursive space of a new genre of texts devoted to artists' biographies.1 In such texts, especially those authored by members of the famed Kano school, Sesshū is heralded as a Japanese painter who traveled to China and found his continental peers lacking in artistic skill.2 In the hands of these Kano commentators, Sesshū's experience is conceptually framed as ... Read More PubDate: 2023-05-11T00:00:00-05:00
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Abstract: Dhaka's National Assembly building, designed by Louis Kahn (1901–1974), was built over several turbulent decades as East Pakistan fought for autonomy and became the new country of Bangladesh. Once at the fringe of a provincial capital, the National Assembly now sits at roughly the center of one of the world's most crowded, fastest-growing cities.1 One breathes a sigh of relief stepping onto the complex grounds, momentarily freed from Dhaka's staggering traffic congestion and crowds of people (Figure 1).Viewed from the outside, the National Assembly is a solid mass, broken only by occasional outsize geometric cutouts and horizontal striations marking the end of each day's concrete pour.2 Inside, interior cutouts ... Read More PubDate: 2023-05-11T00:00:00-05:00
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