Order Ars Orientalis
Considering miraculous images across Asia, these seven articles reveal the variety of sacred icons and their active and diverse roles in mediating spiritual relationships. The authors delve into the complexity of textual traditions and the complicated question of duplication. The articles, guest edited by Dorothy Wong, are drawn from two workshops held in March 2018. This volume is accompanied by a digital-only thematic collection, Chinese Buddhist Art and Architecture in the Digital Era.
The forty-ninth volume of Ars Orientalis, Art-Historical Art, is now out. Developed from a workshop at the University of Michigan organized by Martin Powers, this volume foregrounds the concepts of “historicism,” “citation,” and the multiple motivations and meanings of diachronic continuity. Each author in this volume focuses on the citation of earlier artistic traditions, drawing on examples from the literati painting of the Song period (960–1279) or from eighteenth-century Japanese woodblock-printed books. This layered, multivalent practice of invocation continues in the works of contemporary artists like Shahzia Sikander, Tai Xiangzhou, and Zhang Hongtu, who were interviewed for in the digital version of the volume. In considering these complex phenomena, the authors address not only the temporality of these works, but also the historiographical antecedents to the field of art history itself.
The forty-eighth volume of Ars Orientalis, The Language of Art History, is now out. Guest edited by Sugata Ray, this volume foregrounds the concepts of “translations,” “terminologies,” and “global art history.” The seven articles in the volume all were developed from papers presented at the Thirty-fourth World Congress of Art History in Beijing, hosted by the Chinese committee of the Comité International d’Histoire de l’Art (CIHA). They address key issues with methodological urgency, such as the development of representational techniques across cultures, the relationships between real spaces and spaces of representation, the adaptations of architectural idioms within the context of colonialism and its legacy, and the notion of objecthood in the digital age. In doing so, the authors test the terms and methods for a global art history and explore diverse modes of being in translation.
Dress intersects with everyday life in a way that few areas of art history do. This intersection with the quotidian, and with popular culture throughout history, provides the student of dress with a valuable vantage point from which to address a range of questions.
Edited by Nancy Micklewright, Ars Orientalis 47 considers key issues in the study of dress in general, and dress in Asia more specifically. These include the divide between the timelessness of “traditional” dress and the fast-paced changes of what we call “fashion”; the categories of evidence that come into play; the ways in which Orientalism has effected the study of dress; and contemporary approaches to the field.