JAN/FEB 2025
As Orientations enters its 56th year of publication with the January/February 2025 issue, we strive to appeal to a wider readership, particularly younger demographics, with the addition of digital subscriptions. We believe that our commitment to broadening our coverage with features on lesser-known regions, collections, and institutions, while exploring universal themes within specialized fields, will be of interest to many.
The Tang dynasty (618–907) was a period that fostered cosmopolitanism, technological advancements, and artistic flourishing, resulting in robust trade and the exchange of ideas, religions, and culture. To celebrate sixty years of Franco-Chinese diplomatic relations, the Musée Guimet presents an exhibition showcasing artefacts from over thirty Chinese institutions. Highlights include treasures from the Hejiacun, Famensi, and Dingmaoqiao hoards, as well as recently unearthed wall paintings and other discoveries.
An analysis of a Tang dynasty carved limestone Buddha in the collection of the Art Institute of Chicago provides insights into its provenance, style, and iconography. The inscription, stating a date and donor, places it within a rich historical and religious context.
Baltic Latvia, unearthed a rich burial containing weapons, armour, tools, jewellery, a 10th century ceramic cup, and an 11th century coin, dating the burial to the reign of Conrad II (r. 1024–39). While the cup’s form echoes Chinese Tang dynasty vessels, its construction is simpler and coarser. The discovery of the Riga cup, along with two other similar pieces, strongly suggests a direct trade route for ceramics between China and northern Europe in the 10th century.
Following the Song court’s displacement to Southern China in 1127, artistic production played a key role in efforts to restore the dynasty. While early Southern Song (1127–1279) painting is often characterized as stylistically conservative, Illustrations of Auspicious Responses, depicting Emperor Gaozong’s youth, offers a more nuanced perspective. Seemingly traditional in subject and format, this handscroll is better understood as a product of the court of the Xiaozong emperor (r. 1162–89), presenting a novel reimagining of imperial identity.
From a later period but nevertheless one of robust trade between Europe and Asia, is the 13th century Cup of Saint Sigismund from the Abbey of Saint-Maurice d’Agaune, a remarkable artefact that shows a unique blend of Eastern, Western, and Islamic influences, exemplifying transcontinental artistic exchange.
The donation by Harish K. Patel of 150 silver pieces to the Birmingham Museum of Art significantly enhances scholarship on South Asian silver. Five examples are examined to shed light on silver’s role in promoting diverse goods and its enduring influence as a form of soft power.
We also highlight the works of the Barjeel Art Foundation, whose focus on the art of the Arab world demonstrates the value of culture as a political force, shaping power dynamics between the governed and those who govern, and discuss how to represent the work of diasporic artists whose experiences of conflict are not explicitly reflected in their art.
FEATURES
Arnaud Bertrand and Huei-chung Tsao. Tang China: A Cosmopolitan Dynasty
Nicolas Revire. A Dated Maitreya Buddha From Tang Dynasty China at the Art Institute of Chicago
Christiaan J. A. Jörg. A Tang-Style Cup from a Viking Tomb
Catherine Zhu. Restoration and Reinvention in a Song Scroll
Guilhem André. Between East and West: The Cup of Saint Sigismund and the Workshop of Guillaume Boucher
Katherine Ann Paul. Silver and Soft Power in Late 19th Century South Asia
Melissa Gronlund. The Barjeel Art Foundation and the History of Modern Arab Art
Fletcher Coleman. Solace in Painting? Diasporic Artists and the Market for Conflict
EXHIBITION REVIEWS
Haoyang Zhao. The Great Mughals: Art, Architecture and Opulence
As Orientations enters its 56th year of publication with the January/February 2025 issue, we strive to appeal to a wider readership, particularly younger demographics, with the addition of digital subscriptions. We believe that our commitment to broadening our coverage with features on lesser-known regions, collections, and institutions, while exploring universal themes within specialized fields, will be of interest to many.
The Tang dynasty (618–907) was a period that fostered cosmopolitanism, technological advancements, and artistic flourishing, resulting in robust trade and the exchange of ideas, religions, and culture. To celebrate sixty years of Franco-Chinese diplomatic relations, the Musée Guimet presents an exhibition showcasing artefacts from over thirty Chinese institutions. Highlights include treasures from the Hejiacun, Famensi, and Dingmaoqiao hoards, as well as recently unearthed wall paintings and other discoveries.
An analysis of a Tang dynasty carved limestone Buddha in the collection of the Art Institute of Chicago provides insights into its provenance, style, and iconography. The inscription, stating a date and donor, places it within a rich historical and religious context.
Baltic Latvia, unearthed a rich burial containing weapons, armour, tools, jewellery, a 10th century ceramic cup, and an 11th century coin, dating the burial to the reign of Conrad II (r. 1024–39). While the cup’s form echoes Chinese Tang dynasty vessels, its construction is simpler and coarser. The discovery of the Riga cup, along with two other similar pieces, strongly suggests a direct trade route for ceramics between China and northern Europe in the 10th century.
Following the Song court’s displacement to Southern China in 1127, artistic production played a key role in efforts to restore the dynasty. While early Southern Song (1127–1279) painting is often characterized as stylistically conservative, Illustrations of Auspicious Responses, depicting Emperor Gaozong’s youth, offers a more nuanced perspective. Seemingly traditional in subject and format, this handscroll is better understood as a product of the court of the Xiaozong emperor (r. 1162–89), presenting a novel reimagining of imperial identity.
From a later period but nevertheless one of robust trade between Europe and Asia, is the 13th century Cup of Saint Sigismund from the Abbey of Saint-Maurice d’Agaune, a remarkable artefact that shows a unique blend of Eastern, Western, and Islamic influences, exemplifying transcontinental artistic exchange.
The donation by Harish K. Patel of 150 silver pieces to the Birmingham Museum of Art significantly enhances scholarship on South Asian silver. Five examples are examined to shed light on silver’s role in promoting diverse goods and its enduring influence as a form of soft power.
We also highlight the works of the Barjeel Art Foundation, whose focus on the art of the Arab world demonstrates the value of culture as a political force, shaping power dynamics between the governed and those who govern, and discuss how to represent the work of diasporic artists whose experiences of conflict are not explicitly reflected in their art.
FEATURES
Arnaud Bertrand and Huei-chung Tsao. Tang China: A Cosmopolitan Dynasty
Nicolas Revire. A Dated Maitreya Buddha From Tang Dynasty China at the Art Institute of Chicago
Christiaan J. A. Jörg. A Tang-Style Cup from a Viking Tomb
Catherine Zhu. Restoration and Reinvention in a Song Scroll
Guilhem André. Between East and West: The Cup of Saint Sigismund and the Workshop of Guillaume Boucher
Katherine Ann Paul. Silver and Soft Power in Late 19th Century South Asia
Melissa Gronlund. The Barjeel Art Foundation and the History of Modern Arab Art
Fletcher Coleman. Solace in Painting? Diasporic Artists and the Market for Conflict
EXHIBITION REVIEWS
Haoyang Zhao. The Great Mughals: Art, Architecture and Opulence
As Orientations enters its 56th year of publication with the January/February 2025 issue, we strive to appeal to a wider readership, particularly younger demographics, with the addition of digital subscriptions. We believe that our commitment to broadening our coverage with features on lesser-known regions, collections, and institutions, while exploring universal themes within specialized fields, will be of interest to many.
The Tang dynasty (618–907) was a period that fostered cosmopolitanism, technological advancements, and artistic flourishing, resulting in robust trade and the exchange of ideas, religions, and culture. To celebrate sixty years of Franco-Chinese diplomatic relations, the Musée Guimet presents an exhibition showcasing artefacts from over thirty Chinese institutions. Highlights include treasures from the Hejiacun, Famensi, and Dingmaoqiao hoards, as well as recently unearthed wall paintings and other discoveries.
An analysis of a Tang dynasty carved limestone Buddha in the collection of the Art Institute of Chicago provides insights into its provenance, style, and iconography. The inscription, stating a date and donor, places it within a rich historical and religious context.
Baltic Latvia, unearthed a rich burial containing weapons, armour, tools, jewellery, a 10th century ceramic cup, and an 11th century coin, dating the burial to the reign of Conrad II (r. 1024–39). While the cup’s form echoes Chinese Tang dynasty vessels, its construction is simpler and coarser. The discovery of the Riga cup, along with two other similar pieces, strongly suggests a direct trade route for ceramics between China and northern Europe in the 10th century.
Following the Song court’s displacement to Southern China in 1127, artistic production played a key role in efforts to restore the dynasty. While early Southern Song (1127–1279) painting is often characterized as stylistically conservative, Illustrations of Auspicious Responses, depicting Emperor Gaozong’s youth, offers a more nuanced perspective. Seemingly traditional in subject and format, this handscroll is better understood as a product of the court of the Xiaozong emperor (r. 1162–89), presenting a novel reimagining of imperial identity.
From a later period but nevertheless one of robust trade between Europe and Asia, is the 13th century Cup of Saint Sigismund from the Abbey of Saint-Maurice d’Agaune, a remarkable artefact that shows a unique blend of Eastern, Western, and Islamic influences, exemplifying transcontinental artistic exchange.
The donation by Harish K. Patel of 150 silver pieces to the Birmingham Museum of Art significantly enhances scholarship on South Asian silver. Five examples are examined to shed light on silver’s role in promoting diverse goods and its enduring influence as a form of soft power.
We also highlight the works of the Barjeel Art Foundation, whose focus on the art of the Arab world demonstrates the value of culture as a political force, shaping power dynamics between the governed and those who govern, and discuss how to represent the work of diasporic artists whose experiences of conflict are not explicitly reflected in their art.
FEATURES
Arnaud Bertrand and Huei-chung Tsao. Tang China: A Cosmopolitan Dynasty
Nicolas Revire. A Dated Maitreya Buddha From Tang Dynasty China at the Art Institute of Chicago
Christiaan J. A. Jörg. A Tang-Style Cup from a Viking Tomb
Catherine Zhu. Restoration and Reinvention in a Song Scroll
Guilhem André. Between East and West: The Cup of Saint Sigismund and the Workshop of Guillaume Boucher
Katherine Ann Paul. Silver and Soft Power in Late 19th Century South Asia
Melissa Gronlund. The Barjeel Art Foundation and the History of Modern Arab Art
Fletcher Coleman. Solace in Painting? Diasporic Artists and the Market for Conflict
EXHIBITION REVIEWS
Haoyang Zhao. The Great Mughals: Art, Architecture and Opulence