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Bakels, Jet, Robert Layton, J. M. S. Baljon, Herman L. Beck, R. H. Barnes, J. D. M. Platenkamp, Hans Borkent et al. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 148, Nr. 3 (1992): 529–58. http://dx.doi.org/10.1163/22134379-90003150.
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- Jet Bakels, Robert Layton, The anthropology of art. Cambridge: Cambridge University Press, 1991, 258 pp. - J.M.S. Baljon, Herman Leonard Beck, De Islam in Nederland: Romancing religion? [Inaugurele rede theologische faculteit Tilburg 14.2.1992.] Tilburg: Tilburg University Press 1992. - R.H. Barnes, J.D.M. Platenkamp, North Halmahera: Non-Austronesian Languages, Austronesian cultures?, Lecture presented to the Oosters Genootschap in Nederland at Leiden on 23 May 1989, Leiden: Oosters Genootschap in Nederland, 1990. 33 pp. - Hans Borkent, Directory of Southeast Asianists in the Pacific Northwest. Compiled by: Northwest Regional Consortium for Southeast Asian Studies. Seattle, WA: University of Washington [et al.], 1990. 108 pp. - Roy Ellen, Frans Hüsken, Cognation and social organization in Southeast Asia. Verhandelingen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde 145. Leiden: KITLV Press, 1991, 221 pp. figs. tables, index., Jeremy Kemp (eds.) - C. de Jonge, Huub J.W.M. Boelaars, Indonesianisasi. Het omvormingsproces van de katholieke kerk in Indonesië tot de Indonesische katholieke kerk, Kerk en Theologie in Context, 13, Kampen: Kok, 1991, ix + 472 pp. - Nico de Jonge, Gregory Forth, Space and place in eastern Indonesia, University of Kent at Canterbury, Centre of South-east Asian Studies (Occasional Paper no. 16) 1991. 85 pp., ills. - J. Kommers, Bernard Juillerat, Oedipe chasseur. Une mythologie du sujet en Nouvelle-Guinée, P.U.F., Le fil rouge, section 1 Psychanalyse. Paris, 1991. - Gerco Kroes, Signe Howell, Society and cosmos, the Chewong of Peninsular Malaysia, University of Chicago Press, 1989, xv + 294 pp. - Daniel S. Lev, S. Pompe, Indonesian Law 1949-1989: A bibliography of foreign-language materials with brief commentaries on the law, Van Vollenhoven Institute for Law and Administration in Non-Western Countries. Nijhoff, 1992. - A. M. Luyendijk-Elshout, H. den Hertog, De militair geneeskundige verzorging in Atjeh, 1873-1904. Amsterdam, Thesis Publishers, 1991. - G.E. Marrison, Wolfgang Marschall, The Rejang of South Sumatra. Hull: Centre for South-east Asian Studies, 1992, iii + 93 pp., ill. (Occasional Papers no. 19: special issue)., Michele Galizia, Thomas M. Psota (eds.) - Harry A. Poeze, Marijke Barend-van Haeften, Oost-Indie gespiegeld; Nicolaas de Graaff, een schrijvend chirurgijn in dienst van de VOC. Zutphen: Walburg Pers, 1992, 279 pp. - Ratna Saptari, H. Claessen, Het kweekbed ontkiemd; Opstellen aangeboden aan Els Postel. Leiden: VENA, Faculty of Social Sciences, University of Leiden, P.O. Box 9555, 2300 RA., M. van den Engel, D. Plantenga (eds.) - Jerome Rousseau, James J. Fox, The heritage of traditional agriculture among the western Austronesians. Occasional paper of the department of Anthropology. Comparitive Austronesian Project. Research school of Pacific studies. Australian National University, Canberra, Australia, 1992. 89 pp. - Oscar Salemink, Gehan Wijeyewardene, Ethnic groups acrss National boundaries in mainland Southeast Asia. Singapore 1990, Institute of Southeast Asian studies (Social issues in Southeast Asia series). x + 192 pp. - Henk Schulte Nordholt, U. Wikan, Managing turbulent hearts. A Balinese formula for living, Chicago: University of Chicago Press. 1990, xxvi + 343 pp. photos. - Mary Somers Heidhues, Claudine Salmon, Le moment ‘sino-malais’ de la litterature indonesienne. [Cahier d’Archipel 19.] Paris: Association Archipel, 1992. - Heather Sutherland, J.N.F.M. à Campo, Koninklijke Paketvaart Maatschappij; Stoomvaart en staatsvorming in de Indonesische archipel 1888-1914, Hilversum: Verloren, (Erasmus Universiteit Rotterdam, Publikaties van de Faculteit der Historische en Kunstwetenschappen III), 1992, 756 pp., tables, graphics, photographs. - Gerard Termorshuizen, Robin W. Winks, Asia in Western fiction. Honolulu: University of Hawaii Press, 1990. x + 229 pp., James R. Rush (eds.) - John Verhaar, Lourens de Vries, The morphology of Wambon of the Irian Jaya Upper-Digul area. Leiden: KITLV Press, 1992, xiv + 98 pp., Robinia de Vries-Wiersma (eds.) - Maria van Yperen, Cornelia N. Moore, Translation East and West: A cross-cultural approach, Honolulu: University of Hawaii Press. xxv + 259 pp., Lucy Lower (eds.) - Harvey Whitehouse, Klaus Neumann, Not the way it really was: constructing the Tolai past. Honolulu: University of Hawaii Press, 1992.
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KITLV, Redactie. „Book Reviews“. Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 159, Nr. 2 (2003): 405–68. http://dx.doi.org/10.1163/22134379-90003749.
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-Leonard Y. Andaya, Michel Jacq-Hergoualc'h, The Malay Peninsula; Crossroads of the maritime silk road (100 BC-1300 AD). [Translated by Victoria Hobson.] Leiden: Brill, 2002, xxxv + 607 pp. [Handbook of oriental studies, 13. -Greg Bankoff, Resil B. Mojares, The war against the Americans; Resistance and collaboration in Cebu 1899-1906. Quezon city: Ateneo de Manila University, 1999, 250 pp. -R.H. Barnes, Andrea Katalin Molnar, Grandchildren of the Ga'e ancestors; Social organization and cosmology among the Hoga Sara of Flores. Leiden: KITLV Press, 2000, xii + 306 pp. [Verhandeling 185.] -Peter Boomgaard, Emmanuel Vigneron, Le territoire et la santé; La transition sanitaire en Polynésie francaise. Paris: CNRS Éditions, 1999, 281 pp. [Espaces et milieux.] -Clara Brakel-Papenhuyzen, Raechelle Rubinstein, Beyond the realm of the senses; The Balinese ritual of kekawin composition. Leiden: KITLV Press, 2000, xv + 293 pp. [Verhandelingen 181.] -Ian Caldwell, O.W. Wolters, History, culture, and region in Southeast Asian perspectives. Ithaca, NY: Southeast Asia program, Cornell University/Singapore: Institute of Southeast Asian studies, 1999, 272 pp. [Studies on Southeast Asia 26.] -Peter van Diermen, Jonathan Rigg, More than the soil; Rural change in Southeast Asia. Harlow, Essex: Prentice Hall / Pearson education, 2001, xv + 184 pp. -Guy Drouot, Martin Stuart-Fox, Historical dictionary of Laos. Second edition. Lanham, Maryland: The Scarecrow Press, 2001, lxi + 527 pp. [Asian/Oceanian historical dictionaries series 35.] [First edition 1992.] -Doris Jedamski, Elsbeth Locher-Scholten, Women and the colonial state; Essays on gender and modernity in the Netherlands Indies 1900-1942. Amsterdam: Amsterdam University Press, 2000, 251 pp. -Carool Kersten, Robert Hampson, Cross-cultural encounters in Joseph Conrad's Malay fiction. Basingstoke: Palgrave, 2000, xi + 248 pp. -Victor T. King, C. Michael Hall ,Tourism in South and Southeast Asia; Issues and cases. Oxford: Butterworth-Heinemann, 2000, xiv + 293 pp., Stephen Page (eds) -John McCarthy, Bernard Sellato, Forest, resources and people in Bulungan; Elements for a history of settlement, trade and social dynamics in Borneo, 1880-2000. Jakarta: Center for international forestry research (CIFOR), 2001, ix + 183 pp. -Naomi M. McPherson, Michael French Smith, Village on the edge; Changing times in Papua New Guinea. Honolulu: University of Hawai'i Press, 2002, xviii + 214 pp. -Gert J. Oostindie, Peter van Wiechen, Vademecum van de Oost- en West-Indische Compagnie Historisch-geografisch overzicht van de Nederlandse aanwezigheid in Afrika, Amerika, Azië en West-Australië vanaf 1602 tot heden. Utrecht: Bestebreurtje, 2002, 381 pp. -Gert J. Oostindie, C.L. Temminck Groll, The Dutch overseas; Architectural Survey; Mutual heritage of four centuries in three continents. (in cooperation with W. van Alphen and with contributions from H.C.A. de Kat, H.C. van Nederveen Meerkerk and L.B. Wevers), Zwolle: Waanders/[Zeist]: Netherlands Department for Conservation, [2002]. 479 pp. -Gert J. Oostindie, M.H. Bartels ,Hollanders uit en thuis; Archeologie, geschiedenis en bouwhistorie gedurende de VOC-tijd in de Oost, de West en thuis; Cultuurhistorie van de Nederlandse expansie. Hilversum: Verloren, 2002, 190 pp. [SCHI-reeks 2.], E.H.P. Cordfunke, H. Sarfatij (eds) -Henk Schulte Nordholt, Tony Day, Fluid iron; State formation in Southeast Asia. Honolulu: University of Hawai'i Press, 2002, xii + 339 pp. -Nick Stanley, Nicholas Thomas ,Double vision; Art histories and colonial histories in the Pacific. Cambridge: Cambridge University Press, 1999, xii + 289 pp., Diane Losche, Jennifer Newell (eds) -Heather Sutherland, David Henley, Jealousy and justice; The indigenous roots of colonial rule in northern Sulawesi. Amsterdam: VU Uitgeverij, 2002, 106 pp. -Gerard Termorshuizen, Piet Hagen, Journalisten in Nederland; Een persgeschiedenis in portretten 1850-2000. Amsterdam: Arbeiderspers, 2002, 600 pp. -Amy E. Wassing, Bart de Prins, Voor keizer en koning; Leonard du Bus de Gisignies 1780-1849; Commissaris-Generaal van Nederlands-Indië. Amsterdam: Balans, 2002, 288 pp. -Robert Wessing, Michaela Appel, Hajatan in Pekayon; Feste bei Heirat und Beschneidung in einem westjavanischen Dorf. München: Verlag des Staatlichen Museums für Völkerkunde, 2001, 160 pp. [Münchner Beiträge zur Völkerkunde, Beiheft I.] -Nicholas J. White, Matthew Jones, Conflict and confrontation in South East Asia, 1961-1965; Britain, the United States, Indonesia and the creation of Malaysia. Cambridge: Cambridge University Press, 2002, xv + 325 pp. -Edwin Wieringa, Peter Riddell, Islam and the Malay-Indonesian world; Transmission and responses. London: Hurst, 2001, xvii + 349 pp. -Edwin Wieringa, Stuart Robson ,Javanese-English dictionary. (With the assistance of Yacinta Kurniasih), Singapore: Periplus, 2002, 821 pp., Singgih Wibisono (eds) -Henk Schulte Nordholt, Edward Aspinall ,Local power and politics in Indonesia; Decentralisation and democracy. Sin gapore: Institute of Southeast Asian studies, 2003, 296 pp. [Indonesia Assessment.], Greg Fealy (eds) -Henke Schulte Nordholt, Coen Holtzappel ,Riding a tiger; Dilemmas of integration and decentralization in Indonesia. Amsterdam: Rozenburg, 2002, 320 pp., Martin Sanders, Milan Titus (eds) -Henk Schulte Nordholt, Minako Sakai, Beyond Jakarta; Regional autonomy and local society in Indonesia. Adelaide: Crawford House, 2002, xvi + 354 pp. -Henk Schulte Nordholt, Damien Kingsbury ,Autonomy and disintegration in Indonesia. London; RoutledgeCurzon, 2003, xiv + 219 pp., Harry Aveling (eds)
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L. Rappa, Antonio. „Magical Realism and Romance in Asia: Avenues for Understanding?“ BOHR International Journal of Social Science and Humanities Research 2, Nr. 1 (2023): 13–23. http://dx.doi.org/10.54646/bijsshr.019.
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The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel Garca Márquez’s Love in the Time of Cholera (1985), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses (1988) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56 languages; it became so influential that many scholars used to believe that magical realism originated from Latin America and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin American scholars, including George Borges. Before Márquez and Borges, western European scholars said that magical realism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This article is particularly partial to the influences of Márquez’s Love in the Time of Cholera (1985), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as God does to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness
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Rappa, Antonio L. „Magical realism and romance in Asia: Avenuesfor understanding?“ BOHR International Journal of Social Science and Humanities Research 2, Nr. 1 (2023): 13–23. http://dx.doi.org/10.54646/bijsshr.2023.19.
Der volle Inhalt der QuelleAnnotation:
The classical Greeks believed that Eros was about erotic love. When we forsake the object of our love, it becomes relegated to the dustbin of memories, which makes it difficult to recover or retrieve. This article discusses how romantic love has been celebrated in works of magical realism in Asia that have evolved to include a range of emotions, political resistance (and questioning state authority and authoritarian personalities), fantasy, delusion, illusion, and fiction. One of the most pronouncedly celebrated works on magical realism was Gabriel GarcaMárquez’sLove in the Time of Cholera(1985) (1), which was about patience, perseverance, and emotional endurance. It is a frequent reminder of the need to preserve the memory of the object of one’s love, as it appears to be the only way to ensure that the dead never die. Three years later, Salman Rushdie’s The Satanic Verses(1988) (2) analyzed censorship and religious violence in India (and Pakistan), but incurred the wrath of religious fundamentalists in Iran. Gabriel Garca Márquez’s work was translated from Spanish to English and another 56languages; it became so influential that many scholars used to believe that magical realism originated from LatinAmerica and from the work of Gabriel Garca Márquez. Others believed that it was from several other Latin Americanscholars, including George Borges. Before Márquez and Borges, western European scholars said that magicalrealism originated in Germany between 1919 and 1933, i.e., the Neue Sachlichkeit (or Post-Expressionist) inter-war years, in the work of art critic and historian Franz Roh. Neue Sachlichkeit represented a new but unsettling depiction of a society devastated by war. But this claim is not entirely accurate, as there are other, much earlier claims. Nevertheless, for purposes of this article, magical realism began in Latin America and Mexico, most notably with the work of Gabriel Garca Márquez, who would eventually win the Nobel Prize for Literature in 1982. This articleis particularly partial to the influences of Márquez’s Love in the Time of Cholera(1985) (1), which pedestalizes the memory of being devoted to the object of first love and the fragility of life. In one sense, the confusion, massacres, and plagues of Márquez’s narrative reveal the decadent human desire to plot, plan, and massacre fellow human beings, as we are naturally driven by a God-given desire to destroy the things that we create. Exactly as Goddoes to man, the article asks us to think about the literature of Asian magical realism in general and of Southeast Asian magical realism in particular. What patterns can be gleaned from a brief survey of how magical realism works in Southeast Asia, and what can those patterns tell us about our strengths and desires within streams of consciousness?
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Levin, Cecelia, Joyce van Fenema, Jim Supangkat, Alice Guillermo, Cid Reyes, Suise Wong und Apinan Poshyananda. „Southeast Asian Art Today.“ Pacific Affairs 70, Nr. 3 (1997): 468. http://dx.doi.org/10.2307/2761067.
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Kee, Joan. „Introduction Contemporary Southeast Asian Art“. Third Text 25, Nr. 4 (Juli 2011): 371–81. http://dx.doi.org/10.1080/09528822.2011.587681.
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O'Connor, Stanley J. „Humane Literacy and Southeast Asian Art“. Journal of Southeast Asian Studies 26, Nr. 1 (März 1995): 147–58. http://dx.doi.org/10.1017/s0022463400010547.
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Humane literacy? An essay on undergraduate education? Isn't it a solecism to broach such concerns in this special issue ofThe Journal of Southeast Asian Studieswhere contributors are invited to take stock of the current state of scholarship in various fields of study? My response is simply if not now, then when? I am writing from North America where Southeast Asian studies has gained only a precarious beach-head in the academy and nowhere is this more evident than in the very limited undergraduate investment in our field. Despite the fact that any expansion of academic appointments for specialists on the region will be spurred by evidence of general student interest, a concern with that issue, on our occasions of collective self scrutiny, has been subordinated to questions of research direction, funding strategies, and the prevailing degree of accord between the various disciplines and area studies. But, however ancillary the general education mission of the undergraduate college may seem to professional scholars eager to get on both with their research and the training of graduate students, it is nevertheless a principal responsibility of those deans who control academic appointments. We differ from our colleagues within Southeast Asia where an interest in the region can be either assumed, or expected eventually to develop. While American universities place globalization high on their agendas today, it is not at all evident that their students will wish to study about Southeast Asia rather than, say, Africa or Latin America. So we do need to focus on how we may demonstrate the centrality of what we do to the process of self-discovery and the integration of learning that is at the heart of general education.
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Flores, Patrick. „Southeast Asian History as Contemporary Art“. American Historical Review 128, Nr. 4 (01.12.2023): 1699–705. http://dx.doi.org/10.1093/ahr/rhad479.
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Clark, John. „Negotiating Change in Recent Southeast Asian Art“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 2, Nr. 2 (2018): 43–92. http://dx.doi.org/10.1353/sen.2018.0002.
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Clark, John. „Teaching Modern and Contemporary Southeast Asian Art“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, Nr. 1 (2020): 161–62. http://dx.doi.org/10.1353/sen.2020.0017.
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Taylor, Nora A. „The Southeast Asian Art Historian as Ethnographer?“ Third Text 25, Nr. 4 (Juli 2011): 475–88. http://dx.doi.org/10.1080/09528822.2011.587948.
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Rojas, Carlos. „A Surplus of Fish: Language, Literature, and Cultural Ecologies in Ng Kim Chew’s Fiction“. International Journal of Taiwan Studies 4, Nr. 1 (05.03.2021): 121–41. http://dx.doi.org/10.1163/24688800-20201150.
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Abstract This essay uses an examination of intertwined thematics of fish and text in the fiction of the ethnically Malaysian Chinese author Ng Kim Chew in order to reflect on a broader set of ecological concerns, including issues relating to the natural ecology of the Southeast Asian regions depicted in Ng’s works, together with the overlapping literary ecosystems within which his works are embedded. In particular, the essay is concerned with the ways in which Ng’s fiction reflects on the relationship between the field of Southeast Asian Sinophone literature and the partially overlapping ecosystem of world literature.
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Henning, Moritz, Sally Below, Christian Hiller und Eduard Kögel. „Encounters with Southeast Asian Modernism“. Tropical Architecture in the Modern Diaspora, Nr. 63 (2020): 85–88. http://dx.doi.org/10.52200/63.a.sv57esux.
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Against the backdrop of the Bauhaus centenary in 2019, Encounters with Southeast Asian Modernism examined the history, significance, and future of postcolonial modernism in this region, with partners in four cities – Jakarta, Phnom Penh, Singapore, and Yangon. The project provided a historical perspective on the societal and political upheaval that accompanied the transition to independence after the colonial period in these countries. It also showcased current initiatives in the fields of art, architecture, and science that are committed to the preservation and use of Modernist buildings. In 2020, the project will continue with an exhibition and accompanying program in Berlin.
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Southworth, William A. „THE DISEMBODIED HUMAN HEAD IN SOUTHEAST ASIAN ART“. Aziatische Kunst 43, Nr. 2 (25.07.2013): 27–30. http://dx.doi.org/10.1163/2543-1749-90000347.
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Low, Yvonne, Roger Nelson und Clare Veal. „Editorial Introduction: Gender in Southeast Asian Art Histories“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 3, Nr. 1 (2019): 1–11. http://dx.doi.org/10.1353/sen.2019.0000.
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Swartzburg, Susan G. „Resources for the conservation of Southeast Asian art“. Art Libraries Journal 18, Nr. 2 (1993): 39–43. http://dx.doi.org/10.1017/s0307472200008336.
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There is a desperate and urgent need to conserve works of art and documentary materials in Southeast Asia, where the rigours of the climate and the effects of war and political unrest have ravaged the cultural heritage. An initiative launched by Cornell University in Cambodia, with the intention of preserving documentary materials and training Cambodian librarians in conservation techniques, may result in the development of a badly-needed regional centre which would complement the National Archives of the Philippines, and the Regional Conservation Centres established by IFLA on the Pacific rim, in Australia and Japan. Information and expertise are available from UNESCO, ICOMOS, ICCROM, ICOM, the Getty Conservation Institute, IIC, IADA, IPC, IFLA, ICA, and other international and US organisations.
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Chua, Kevin. „On Teaching Modern and Contemporary Southeast Asian Art“. Third Text 25, Nr. 4 (Juli 2011): 467–73. http://dx.doi.org/10.1080/09528822.2011.587947.
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Giffard-Foret, Paul. „Southeast Asian Australian women’s fiction and the globalization of “magic”“. Journal of Postcolonial Writing 50, Nr. 6 (04.03.2014): 675–87. http://dx.doi.org/10.1080/17449855.2014.891244.
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Antoinette, Michelle, und Nora A. Taylor. „Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990“. Journal of Social Issues in Southeast Asia 31, Nr. 2 (30.07.2016): 630–32. http://dx.doi.org/10.1355/sj31-2j.
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Veal, Clare. „Michelle Antoinette, Reworlding Art History: Contemporary Southeast Asian Art after 1990“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, Nr. 2 (2017): 181–88. http://dx.doi.org/10.1353/sen.2017.0019.
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Poungpattana, Rattanaporn. „Reconceptualizing Indianization: A Study of the Art of the Local Female Deities“. MANUSYA 7, Nr. 2 (2004): 14–31. http://dx.doi.org/10.1163/26659077-00702002.
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It was formerly known and agreed generally that the earliest Southeast Asian people did not create their own civilization, but adopted models from India. Accordingly, civilization in Southeast Asia is called "Indianization". Yet there are three mains schools of thought giving different views of the characteristics of Southeast Asian civilization. While the first school, led by Coedes, points out that civilization in Southeast Asia is not so different from its Indian models, the second school, led by Wolters, suggests that Southeast Asian civilization is completely different from the Indian one due to the process called 'localization'. Compromisingly, the last school, led by Mabbett, proposes the harmonious living of the two cultures in local societies. As the debates are still uncompromised, the article offers the examination of the case study of female deities in an attempt to compromise those debates. According to the observation on the case study, it can be summed up that Wolters and Mabbett's suggestions seem closer to the real situation, and that Southeast Asia has its own typical civilization.
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Jalandoni, Andrea, Paul Taçon und Robert Haubt. „A Systematic Quantitative Literature Review of Southeast Asian and Micronesian Rock Art“. Advances in Archaeological Practice 7, Nr. 4 (11.06.2019): 423–34. http://dx.doi.org/10.1017/aap.2019.10.
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ABSTRACTEven though Southeast Asia is one of the most densely populated regions of the world, its rock art is relatively unknown, and the rock art of Micronesia is even less so. As a starting point for comparing Philippine rock art within the region, a systematic quantitative literature review (SQLR) was conducted to assess the current body of accessible publications. The SQLR resulted in 126 viable references, and characteristics of those references were quantified and analyzed to ascertain the qualities of research published to date. The SQLR results show that scholarship in Southeast Asian rock art is increasing and that the research is dominated by Australia-affiliated scholars. It also quantitatively affirmed that the most noted color for rock art in the region is red and the most commonly identified motif is anthropomorphic. Many motifs found elsewhere in Southeast Asia are notably absent in the known corpus of Philippine rock art. Finally, we discuss SQLR methodology and propose integrating collaborative semantic web applications to increase efficiency and relevance.
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Sng, Issa Yi Xian. „Towards an End of New Beginnings: A Historiographical Exegesis of T.K. Sabapathy's 'Regionalist Perspectives'“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, Nr. 1 (März 2023): 59–81. http://dx.doi.org/10.56159/sen.2023.a890220.
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Abstract: T.K. Sabapathy is widely regarded as the pre-eminent art historian in Singapore, and possibly Southeast Asia. In addition to serving as an educator, curator, critic and advisor, Sabapathy is a prolific writer with an unrivalled textual output that spans five decades and a multitude of art historical concerns. Through a close reading of Sabapathy's 1996 paper "Developing Regionalist Perspectives in Southeast Asian Art Historiography", this essay dissects a single representative idea from Sabapathy's extensive corpus, specifically what he designates as 'regionalist perspectives'. Part exegesis, part historiography, this essay investigates the nuances and features of 'regionalist perspectives', the individual motivations and extrinsic forces which contributed to this approach, as well as suggests some reasons for its prominence and enduring association with Sabapathy's work as an art historian. It aims to further historiographical interest in the oeuvre of an art historian who has had an immense and indubitable impact on the disciplinary foundations of modern Southeast Asian art history.
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Wijaya, Hanny. „Neighbour Programme: The Mixture of Southeast Asian Visual Culture“. Humaniora 5, Nr. 2 (30.10.2014): 737. http://dx.doi.org/10.21512/humaniora.v5i2.3129.
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Neighbour Programme was initiated in 2010 by three institutions from Southeast Asia: Singapore, Malaysia, and Thailand; then Indonesia joined them a year later in 2011. These institutions, which specialise in art and design, decided to develop a project about cultural exchange that aimed to reconnect art and design in the form of a dialogue and research as practice. This project also intended to include forming mutual networks to organise exchange programmes, creating cultural collisions within this mixture. Based on thought that Southeast Asia’s countries have the same root of art, culture and heritage, Neighbour focused on searching a different topic each year that could be explored and developed into knowledge and understanding for both students and lecturers, and hopefully to publics about their own visual culture. Neighbour has running since 2010 and still developing until present. This project has used different methods, such as Constructivist Learning that gave new perspective of gaining knowledge; and hopefully Neighbour will keep trying to find a new method to engage art, design, and culture with publics internationally.
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Ngoei, Wen-Qing. „Exhibiting Transnationalism after Vietnam: The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia“. Journal of American-East Asian Relations 29, Nr. 3 (20.09.2022): 271–99. http://dx.doi.org/10.1163/18765610-29030004.
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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.
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Teh, David. „The Preter-National: The Southeast Asian Contemporary and What Haunts It“. ARTMargins 6, Nr. 1 (Februar 2017): 33–63. http://dx.doi.org/10.1162/artm_a_00165.
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Southeast Asian modern art has thus far been historicized largely within national historical frameworks. The region's contemporary art has been pulled, sometimes unwillingly, into those national frameworks, even as it enters a global market and takes part in a more transnational dialogue. What is the geography proper to contemporary art? And what insights might a regional perspective afford about art that speaks to a world beyond the nation, but resists outright assimilation under the rubric of ‘the global’? This essay proposes a calibration of three art historical frames – national, regional and international. I argue that far from meaning transcendence of national frames, even where artists intend it, contemporaneity compounds and complicates them. I examine two specific manifestations of contemporaneity, one that emerged at the height of the Cold War in the work of a Sino-Thai modernist, Chang Sae-tang; the other in the broaching of Cold War trauma in art and film of the ‘post-historical’ twenty-first century. Neither ‘contemporary’ can be understood without its respective national framing, but that framing alone proves inadequate for describing the complex histories, subjectivities, and formal choices with which Southeast Asian artists have grappled. If studies of modern art demanded recourse to specific national histories, the study of contemporary art will require no less specific histories of the international.
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Moretti, Sebastien. „Keeping Up Appearances“. European Journal of East Asian Studies 17, Nr. 1 (21.06.2018): 3–30. http://dx.doi.org/10.1163/15700615-01701001.
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Abstract The fact that most Southeast Asian States are not party to the main instruments pertaining to the protection of refugees has given rise to the ‘rejection of international refugee law’ theory, which has largely dominated the literature on the issues pertaining to refugees in Southeast Asia. Based on an analysis of the practices of Southeast Asian States with regard to refugees, this article argues that although they are not party to the 1951 Convention, the main countries of asylum in the region, i.e. Thailand, Malaysia and Indonesia, de facto treat differently the people they acknowledge to be in need of some sort of protection: that is, refugees. Unlike other irregular migrants, refugees are protected against non-refoulement and, to a certain extent, are also protected from detention for irregular entry into the territory of another State. In doing so, Southeast Asian States maintain a ‘fiction’ according to which they preserve sovereignty over the borders of their countries while in reality largely accepting the limitations posed by international refugee law.
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Teh, David. „Festivity and the contemporary: Worldly affinities in Southeast Asian art1“. Art & the Public Sphere 8, Nr. 2 (01.12.2019): 131–45. http://dx.doi.org/10.1386/aps_00012_7.
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What is the place of the festival in the global system of contemporary art, and in that system’s history? Can the large, recurring surveys that are its most prominent exhibitions today even be considered festivals? Such questions become more pressing as sites newly embraced by that system take their place on a global event calendar, and as the events increasingly resemble those held elsewhere or merge with the market in the form of art fairs. What becomes of community and locality, of spontaneity and participation, as that market ‐ and art history ‐ takes up the uncommodified fringes and untold stories of contemporary art’s ever widening geography? This article stems from my research for a recent volume entitled Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992‐98, concerning a series of artist-initiated festivals held in northern Thailand in the 1990s known as the Chiang Mai Social Installation. These gatherings, and others like them, suggest that while national representation was the usual ticket to participation on a global circuit, the agencies and currency of national representation were not essential determinants of contemporaneity; and that it was localism, rather than any internationalism, that underpinned the worldly affinities discovered amongst artists in Southeast Asia at that time. The sites of this becoming contemporary were festive, sites of celebration and expenditure rather than work and accumulation. What does this mean for contemporary art’s history and theory, and how might it change our understanding of the region’s art and its international currency today?
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Ertanto, Boy. „Contested Spaces: Entanglement of Chinese Migration, Gender Discrimination, and Colonial Resistance in Olivia Ho’s “Working Woman”“. Journal of Language and Literature 22, Nr. 1 (23.03.2022): 125–37. http://dx.doi.org/10.24071/joll.v22i1.3742.
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Southeast Asian colonial experiences are of immense significance yet under-exposed. It entails an irony as Southeast Asia as a geographical entity is one of the most colonized regions in the history of humankind. This paper serves to provide an elaboration of the Chinese Singaporean colonial experiences during the British occupation in Singapore in a steampunk short story entitled “Working Woman” by Olivia Ho. This short story is compiled in an anthology of Southeast Asian steampunk short stories named The Sea is Ours: Tales from Steampunk Southeast Asia edited by Jaymee Goh and Joyce Chng. Postcolonial feminism approach is utilized as the critical framework in the analysis of the story. The analysis finds that there are three contesting themes in the narrative namely 1) the reception of forced migration of the Chinese that result in their permanent residence in Singapore, 2) double colonization undergone by the Chinese female characters, and 3) the resistance toward British colonial power and patriarchal subjugation in the Singaporean Chinese society. The three themes intermingle as a linear course of history rather than an independent sub-historical phenomenon within the fiction. Thus, the reception of Chinese migration in the fiction is made possible by the arrival of British colonialism in Singapore and as a result, discrimination and resistance of Chinese women become the implication of the contact of colonialism and migration.
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Yogi Tri Prasetyo. „EVALUATING SOUTHEAST ASIAN MILITARY CAMOUFLAGE DESIGNS USING CAMOUFLAGE SIMILARITY INDEX (CSI)“. Malaysian Journal of Public Health Medicine 20, Special1 (01.08.2020): 152–60. http://dx.doi.org/10.37268/mjphm/vol.20/no.special1/art.691.
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Military camouflage plays a critical survivability component of the front-line soldiers. The purpose of this study was to evaluate the existing military camouflage effectiveness across Southeast Asian countries using Camouflage Similarity Index (CSI). CSI is a color-based image algorithm based on CIELAB color space. The value ranges from 0 to 1 and the best value 0 is achieved if the selected camouflage perfectly blends with the selected background. 10 existing military camouflage designs across Southeast Asian countries were evaluated under 7 different locations (20x50 pixels) from 1 selected woodland background. Each location had different L*, a*, and b* values. Post-hoc Tukey test showed that there was no significant difference between camouflage, indicating that the existing Southeast Asian Military camouflage had equal effectiveness of concealment on the selected woodland background. This study represents the first attempt to investigate the effectiveness of Southeast Asian military camouflages. The results of this study could be very beneficial for Southeast Asian military organizations, academicians, and camouflage manufacturer in terms of finding the enhanced direction from the current design which subsequently enhances the survivability of the front-line soldiers.
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Yahya, Farouk. „Book Review: Modern and Contemporary Southeast Asian Art: An Anthology“. South East Asia Research 23, Nr. 2 (Juni 2015): 276–78. http://dx.doi.org/10.5367/sear.2015.0266.
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Trisnawati, Ririn Kurnia. „SHIFTING NOIR ELEMENTS: AN OVERVIEW ON NOIR FICTION IN SOUTHEAST ASIA“. Jurnal Lingua Idea 8, Nr. 2 (10.11.2017): 71. http://dx.doi.org/10.20884/1.jli.2017.8.2.249.
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The emergence of noir fiction in Southeast Asian countries has showcased particular evolvement of noir elements. The noir works produced in this region have embraced shifting noir themes and noir protagonists that slightly move away from what formerly constitutes noir fiction. Thus, this study aims at investigating to what extent these two noir elements from noir fiction produced in Southeast Asia has differed from its preceding noir works in the scholarship of noir genre. As a preliminary finding, this study only highlights the shifting noir elements taken from selected noir stories represented by some noir anthologies produced in Southeast Asia. They are KL Noir from Malaysia, Singapore Noir from Singapore, and Manila Noir from the Philippines. The result shows that noir themes have departed from criminality and violence to some other contextualized themes such as supernaturalism, religion, and colonial legacy. Meanwhile, noir protagonists are portrayed as those who are involved with criminality not only as criminals but also as ‘heroes’. Finally, what is discussed in this study is expected to contribute to a larger discussion of fluidity in noir genre, and, also, noir, or darkness, is proven to be derived from various perspectives.
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Wardani, Farah. „Finding the place for art archives: Reflections from archiving Indonesian and Southeast Asian art“. Wacana 20, Nr. 2 (15.04.2019): 209. http://dx.doi.org/10.17510/wacana.v20i2.736.
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Kang Heejung. „Southeast Asian Hindu Art from the 6th to the 7th Centuries“. Southeast Asian Review 20, Nr. 3 (Oktober 2010): 263–97. http://dx.doi.org/10.21652/kaseas.20.3.201010.263.
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Maxwell, Robyn J. „But is it art? recent anthropological research on southeast Asian textiles“. Asian Studies Association of Australia. Review 12, Nr. 2 (November 1988): 3–11. http://dx.doi.org/10.1080/03147538808712549.
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Witkowski, Terrence H. „Early history and distribution of trade ceramics in Southeast Asia“. Journal of Historical Research in Marketing 8, Nr. 2 (16.05.2016): 216–37. http://dx.doi.org/10.1108/jhrm-07-2015-0026.
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Purpose This paper aims to investigate the history and distribution of trade ceramics in Southeast Asia over a thousand-year period stretching from the ninth to the early nineteenth century CE. Design/methodology/approach The study takes a material culture approach to the writing of marketing history by researching the ceramics trade from the starting point of artifacts and their social context. It draws from literatures on Chinese and Southeast Asian ceramics art history and archaeology. It also is informed by first-hand experience inspecting surviving artifacts in shops, talking to dealers and taking in museum displays. Findings After a brief historical overview of the ceramics trade in Southeast Asia, the research further explores topics in physical distribution (transportation routes, hubs and local marketplaces and ships, cargo and packing) and product assortments, adaptation and globalization of consumer culture. Research limitations/implications The art history and archaeological literatures provide a good overview of the ceramics trade and analysis of surviving material artifacts, but only limited information about distribution and consumption. Many questions remain unanswered. Originality/value This study contributes to international business and marketing history by documenting a thousand years of trade among China, mainland and insular Southeast Asia, and a long-standing cultural exchange facilitated by seaborne commerce. It also shares a marketing perspective with the fields of Southeast Asian art history and archaeology. Research in marketing history has neglected this region. To fully understand the development of marketing in the pre-industrial era, accounts from civilizations outside the West must be included.
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Rath, Amanda Katherine, und Wulan Dirgantoro. „Editorial Introduction In the Making: Experimentation and Experiment in Southeast Asian Art“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 6, Nr. 2 (Oktober 2022): 2–9. http://dx.doi.org/10.56159/sen.2022.a871489.
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Flores, Patrick D. „Towards a Lexicon of Inclinations: Words Forming Worlds in Southeast Asia“. Asian Diasporic Visual Cultures and the Americas 3, Nr. 1-2 (14.03.2017): 35–53. http://dx.doi.org/10.1163/23523085-00302003.
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This article sketches out the implications of certain terms from the field of Southeast Asian discourse that refer in different ways to the notion of the “international.” These include “developmental,” “regionality/regionalist,” “reality/realism,” “Asian-African,” and “exploding galaxy.” These terms enable the local to incline outward or to widen its latitude. A discussion of these terms may lead to a fuller understanding of the relationship between the local and the global, the Euro-American and the post-colony. This reflection on terms also affords an opportunity to initiate play on words, probing the paradoxes involved in the production of phrases. A constellation of words and phrases proposes a methodology of translating other art histories and other histories of art histories. It indexes a particular way of knowing and a study of the world, one that may be able to surmount notions of hybridity and the limits of the negation of the Western norm.
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Revire, Nicolas. „Facts and Fiction: The Myth of Suvaṇṇabhūmi Through the Thai and Burmese Looking Glass“. TRaNS: Trans -Regional and -National Studies of Southeast Asia 6, Nr. 2 (Juli 2018): 167–205. http://dx.doi.org/10.1017/trn.2018.8.
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AbstractMost scholars think that the generic name ‘Golden Land’ (Sanskrit, Suvarṇabhūmi; Pali, Suvaṇṇabhūmi) was first used by Indian traders as a vague designation for an extensive region beyond the subcontinent, presumably in Southeast Asia. Some Pali sources specifically link Suvaṇṇabhūmi with the introduction of Buddhism to the region. The locus classicus is the Sri Lankan Mahāvaṃsa chronicle (fifth century AD) which states that two monks, Soṇa and Uttara, were sent there for missionary activities in the time of King Asoka (third century BC). However, no Southeast Asian textual or epigraphic sources refer to this legend or to the Pali term Suvaṇṇabhūmi before the second millennium AD. Conversely, one may ask, what hard archaeological evidence is there for the advent of Buddhism in mainland Southeast Asia? This article re-examines the appropriation of the name Suvaṇṇabhūmi in Thailand and Burma for political and nationalist purposes and deconstructs the connotation of the term and what it has meant to whom, where, and when. It also carefully confronts the Buddhist literary evidence and earliest epigraphic and archaeological data, distinguishing material discoveries from legendary accounts, with special reference to the ancient Mon countries of Rāmaññadesa (lower Burma) and Dvāravatī(central Thailand).
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Offshoreart.co, Kathleen Ditzig und Robin Lynch. „Art On/Offshore: The Singapore Freeport and Narrative Economics that Frame the Southeast Asian Art Market“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, Nr. 2 (2020): 161–201. http://dx.doi.org/10.1353/sen.2020.0009.
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Forcier, Kaitlin. „High-Tech Orientalism and Science Fiction Futures in Astria Suparak’s "Virtually Asian" (2021)“. Media-N 18, Nr. 1 (01.02.2022): 147–52. http://dx.doi.org/10.21900/j.median.v18i1.877.
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Multimedia artist Astria Suparak’s short video essay, Virtually Asian (2021) presents an astute critique of the racism embedded in pop-culture imaginings of the future. Weaving together footage culled from forty years of science fiction blockbusters, the supercut reveals not only how Asian actors have been used as an orientalist backdrop for white characters in these films, but that these Asian bodies are often dematerialized, represented as projections, holograms, and digital images. The piece comprises a trenchant follow-up to scholar Wendy Chun’s observations about “High-tech Orientalism,” a trope which represents a technologically-advanced future as an exotic Asian landscape. Commissioned by the Berkeley Art Center as part of an online exhibition launched while the gallery was closed by the pandemic, Virtually Asian is part of Suparak's ongoing project, “Asian futures, without Asians.” Despite its sharp critique, Virtually Asian ultimately strikes a hopeful tone. These are after all collective visions of the future: we have the capacity to imagine futures that are less racist, less sexist, more accurate reflections of the world we hope to inhabit.
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Lenzi, Iola. „Early contemporary art in Vietnam: Đổi Mới shift as spur of innovation in globalizing 1990s-Hanoi“. Russian Journal of Vietnamese Studies 6, Nr. 1 (15.01.2022): 73–85. http://dx.doi.org/10.54631/vs.2022.61-105389.
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The social impacts of 1986 Đổi Mới economic reform in Vietnam are well-studied. However, connections between Đổi Mới change and 1990s artistic transformation are not. This study examines these ties to reveal how post-Đổi Mới, outside Vietnamese mainstream art, and in not yet globally-open Hanoi, vanguard expressions emerged. Using artwork analysis and cross-disciplinary literature, this paper spotlights how material and social landscapes of 1990s-Hanoi impacted art. It uncovers parallels with Southeast Asian contemporary art to conclude that Hanoi vanguard practices constituted early Vietnamese contemporary art expanding regional 20th century art history without obligatory recourse to outside models.
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Vickers, Adrian. „Visual methods and the study of Balinese art collections“. Journal of Southeast Asian Studies 51, Nr. 3 (September 2020): 321–42. http://dx.doi.org/10.1017/s0022463420000478.
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Digital tools offer new possibilities for visual research, and such tools can provide methods for revitalising our understanding of the field of culture. Despite the importance of the visual as an element of culture, it is only in the last decade that the visual as a phenomenon of seeing has been a major feature of theoretical and methodological approaches to Southeast Asia. The long traditions of art history, anthropology and related fields in Southeast Asian studies have hitherto been focused on empirical documentation. In studying one aspect of the visual archive created by the polymath Gregory Bateson during his partnership with Margaret Mead, I will draw on methodologies that have their origins in Bateson's writings. These methodologies find fresh conditions in digital environments, in ways that allow us to bring into play a variety of theories of the visible.
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Oh, Younjung. „Oriental Taste in Imperial Japan: The Exhibition and Sale of Asian Art and Artifacts by Japanese Department Stores from the 1920s through the Early 1940s“. Journal of Asian Studies 78, Nr. 1 (Februar 2019): 45–74. http://dx.doi.org/10.1017/s0021911818002498.
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From the 1920s to the early 1940s, Japanese department stores provided Japanese urban middle-class households with art and artifacts from China, Korea, Taiwan, and Southeast Asia. The department stores not merely sold art and artifacts from Japan's Asian neighbors but also promoted the cultural confidence to appreciate and collect them. At the same time, aspiring middle-class customers satisfied their desire to emulate the historical elite's taste for Chinese and other Asian objects by shopping at the department stores. The aesthetic consumption of Asian art and artifacts formulated a privileged position for Japan in the imperial order and presented the new middle class with the cultural capital vital to the negotiation of its social status. This article examines the ways in which department stores marketed “tōyō shumi” (Oriental taste), which played a significant role in the formation of identity for both the imperial state and the new middle class in 1920s and 1930s Japan.
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Brown, Robert L. „Studies in Southeast Asian Art: Essays in Honor of Stanley J. O'Connor (review)“. Asian Perspectives 40, Nr. 1 (2001): 145–46. http://dx.doi.org/10.1353/asi.2001.0003.
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Wright, Astri. „Becak, Bike and Beyond: One Story of Teaching Modern Southeast Asian Art Abroad“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 4, Nr. 1 (2020): 195–203. http://dx.doi.org/10.1353/sen.2020.0023.
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Legaspi-Ramirez, Eileen. „Art on the Back Burner: Gender as the Elephant in the Room of Southeast Asian Art Histories“. Southeast of Now: Directions in Contemporary and Modern Art in Asia 3, Nr. 1 (2019): 25–48. http://dx.doi.org/10.1353/sen.2019.0002.
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Solheim, Wilhelm G. „Archaeology and Anthropology in Southeast Asia“. Journal of Southeast Asian Studies 18, Nr. 2 (September 1987): 175–81. http://dx.doi.org/10.1017/s0022463400020488.
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I agreed in the fall of 1979 to be the guest editor of a special issue of the Journal of Southeast Asian Studies on the state of the art of archaeology and anthropology in Southeast Asia. This special issue was to be published in March 1984 and I was to have the papers to the editor by the 15th of October 1983; plenty of time I thought. I first attempted to get two senior American anthropologists to be associate editors, one for Mainland Southeast Asia and one for Island Southeast Asia. This did not work out so in the fall of 1980 I started to organize authors for each country. By the summer of 1981 I had arranged authors for thirteen reports.
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Ancuta, Katarzyna. „The Waiting Woman as the Most Enduring Asian Ghost Heroine“. Gothic Studies 22, Nr. 1 (März 2020): 81–97. http://dx.doi.org/10.3366/gothic.2020.0039.
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The waiting woman is a ghost who appears to be endlessly waiting – for recognition, for her lover, for a chance to reincarnate, or to exact revenge. In Asia, her roots can be found in early medieval Chinese records of the strange, arguably the oldest written ghost stories in the region. The romanticized version of this ghost, introduced in Tang Xianzu's drama Peony Pavillion ( Mudan ting, 1598), influenced many writers of Japanese kaidan (strange) stories and merged with East and Southeast Asian ghostlore that continues to inspire contemporary local fiction and films. The article proposes to read the figure of the waiting woman as a representation of the enduring myth of the submissive Asian femininity and a warning against the threat of possible female emancipation brought about by the socio-economic changes caused by modernisation.
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Fina, Lien Iffah Naf’atu. „Southeast Asian Islamic Art and Architecture: Re-Examining The Claim of the Unity and Universality of Islamic Art“. Sunan Kalijaga: International Journal of Islamic Civilization 1, Nr. 2 (30.11.2018): 171. http://dx.doi.org/10.14421/skijic.v1i2.1364.
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This paper re-examines the claim of unity and universality of Islamic art, whose discussion usually disregards Islamic art and architecture in the Southeast Asian context. The question raised is where Islamic art in the Malay world should be put before the claim of the unity and universality of Islamic art and whether this claim is, thus, still valid. To meet this objective, the two heritages of Javanese Islamic art, Demak and Cirebon mosques and wayang, are presented and analyzed before such universal claim and pre-Islamic Javanese art. These Javanese expressions have unique features compared to those from the older Muslim world. The mosques lack geometric ornamentation and Qur’anic calligraphic decoration, and are rich with symbolism. However, both the mosques and wayang also clearly express the figurative designs. Thus, this paper argues that instead of geometric designs as the unified character of Islamic art as some argue, it should be the abstraction of motifs. This way, the universal claim of Islamic art accommodates the artistic expressions from the wider regions, including those from Southeast Asia. Besides the abstraction, these Javanese artistic expressions also shares other universal character of traditional development of Islamic art; its ability to always considering the local tradition while maintaining the basic principle of Islamic art. Javanese Islamic art is both Islamic and uniquely Javanese. In the midst of globalization and the contemporary tendency towards “Islamic authentication” by importing culture and tradition from the Middle East, including the mosque architecture, the latter character is vital. It tells that any direct import and implantation of other or foreign traditions to a certain region without any process of considering the local tradition and context has no basis and legitimation in Islamic artistic tradition.