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2014 No. 74
FEATURES:

Member News and Publications
In Memoriam
About Curating and About Teaching
Conferences and Exhibitions 2013-14
Ame r i c a n Co u n c i l f o r
Southern Asian Art
A C S A A
4 ACS AA 7 4 S UMMER 2 0 1 4 4
Melody Rod-ari, Editor
Assistant Curator
South and Southeast Asian Art
Norton Simon Museum
411 W. Colorado Blvd.
Pasadena, CA 91105
e-mail: melody.rodari@gmail.com
Cathleen Cummings, Webmaster
Assistant Professor of Art History
Department of Art & Art History
University of Alabama at Birmingham
113 Humanities
900 13th Street South
Birmingham, AL 35294
e-mail: webmaster@acsaa.us
Catherine Becker, ACSAA Secretary
Assistant Professor of Art History
Department of Art History (M/C 201)
University of Illinois at Chicago
935 W. Harrison St.
Chicago, IL 60607
This is the seventh issue of the annual ACSAA Bulletin. The Bulletin serves to archive member news including
recent publications, exhibited artwork, conference presentations, invited lectures and curatorial work. It also features
symposia/conferences and exhibitions.
Time-sensitive material, such as the opening and closing dates of specic shows, employment opportunities, and calls
for papers are now found on ACSAAs website: www.acsaa.us.
We invite you to actively visit the website to plan museum and gallery research trips, to nd deadlines for conferences
and job postings, as well as for membership renewal.
With this issue, I would like to thank everyone at ACSAA for their support and generosity in making the Bulletin
possible. I encourage everyone to send information throughout the year and request that you use the subject line:
ACSAA Bulletin.
As the contents of the Bulletin depend on member submissions, please continue to keep us informed of all scholarly
endeavors, activities and interests.

Melody Rod-ari, Editor
Editorial Staff
5 ACS AA 7 4 S UMMER 2 0 1 4 5
7
From the ACSAA President
8
ACSAA Member News
11
ACSAA Member Publications
13
In Memoriam: A Tribute to our Recently
Departed
16
About Teaching
18
About Curating
19
Conferences 2014
AAS, CAA
28
Museum Exhibitions 2014-15
The ACSAA Bulletin is published by the American Council
for Southern Asian Art, a nonprot organization dedicated
to the encouragement and advancement of the art of South
and Southeast Asia and to the communication and sharing
of knowledge among scholars and all others interested in the
arts. It is published annually in the Summer and is distrib-
uted to members of ACSAA.
Editor
Melody Rod-ari, Norton Simon Museum
ACSAA Ofcers
Stephen Markel, Los Angeles County Museum of Art
President
Deepali Dewan, Royal Ontario Museum
Vice-President
Catherine Becker, University of Illinois at Chicago
Secretary
Deborah Hutton, The College of New Jersey
Treasurer
Board of Directors
Molly E. Aitken, City College, City University of New York
John Cort, Denison University
Lisa N. Owen, University of North Texas
Rashmi Viswanathan, New York University
The Bulletin depends upon the interest and cooperation of
its readers for information. News, contributions, ideas and
concerns for the 2015 Bulletin should be sent to the editor:
Melody Rod-ari
Assistant Curator
Asian Art
Norton Simon Museum
melody.rodari@gmail.com
Table of Contents
6 ACS AA 7 4 S UMMER 2 0 1 4 6
Membership News
Membership
Need to check the status of your membership, join, or renew your
membership to ACSAA? Please visit www.acsaa.us
Membership renewals are now processed online. Under this new
system, membership will be renewed on a yearly rolling basis
from the date your payment is received.
1. Go to the ACSAA website address: www.acsaa.us
2. If you have ever been an ACSAA member in the past, we may
have your information already stored. To renew, you rst need to
log in to the site with the following combination of username and
password:
username: the rst six alpha-numeric characters in your e-mail
address. This may be an old e-mail address that we have on le.
The default password: acsaa
3. Once you have logged in you can change your password.
If you need to renew, a message will appear with a button directing
you through the renewal process. However, if you prefer to
renew your membership by check, a renewal form is available
online. You can print out the form and mail it with your check to:
Catherine Becker, ACSAA Secretary, Department of Art History
(M/C 201), University of Illinois at Chicago, 935 W. Harrison St.
Chicago, IL 60607 USA
Once your check is received we will update your status online and
you will be able to log on to the members section of the site.
Membership
$40 Regular
$15 Student and Unemployed
$50 Institutions
$60 Contributing Member
$100 Sustaining Member
Yearly dues payable online or by mail. Please add $5 for overseas
airmail postage. All payments must be made in US funds;
ACSAA can accept either International Money Orders or checks
drawn on US banks. Change of address notices should also be
sent to the Secretary and should include both the old and the
new addresses.
Membership Benets: ACSAA Listserv
In addition to a subscription to the annual Bulletin, inclusion in the
membership directory and access to archived material via the web-
site, members may join the ACSAA Listserv discussion forum. To
subscribe or unsubscribe, simply go to www.acsaa.us
Please address any questions to Cathleen Cummings:
webmaster@acsaa.us
New Members
Contributing Members
Sustaining Members
Seher Agarwala
Basia Banasik
Mya Chau
Sonali Dhingra
Caroline Duke
Neil Ghosh
Charlotte Gorant
Regan Huff
Rattanmol Johal
Mekala Krishnan
Lee Lawrence
Nancy Lin
Sarah Loudon
(Seattle Asian Art
Museum)
Brigitte Majlis
Annu Matthew
Arathi Menon
Shellie Meeks
Shalika Mishra
Alyssa Pheobus
Mumtaz
Sonya Quintanilla
Amanda Rath
Akira Shimada
Gregory Shonk
Caron Smith
Don Stadtner
Shivani Sud
Janet Um
Ahmed Wahby
Saleema Waraich
Lori Way

Susan Bean
Charles Collins
National Gallery of
Art Australia
Lisa Owen
Caron Smith
Laura Weinstein
Joanna Williams
Catherine Asher
Rick Asher
Milo Beach
Richard Davis
Deepali Dewan
Padma Kaimal
Stephen Markel
Forrest McGill
David Nalin
Ed Rothfarb
Kay Talwar
Akiko Yagi
7 ACS AA 7 4 S UMMER 2 0 1 4 7
From the ACSAA President
It has been an honor and a privilege to serve as ACSAAs President for the past three years. I am pleased to
have been able to accomplish all the goals I set at the beginning of my term, none of which would have been
possible without the enthusiastic participation of the ACSAA Board and membership. ACSAA continued its
core responsibilities of presenting cutting-edge biennial symposia (Minneapolis, 2011, and Los Angeles, 2013)
and organizing outstanding panels and papers for presentation at CAA and AAS conferences (please join me
in thanking Deepali Dewan for adroitly managing CAA and AAS interactions). The ACSAA website was also
signicantly upgraded by webmaster Cathleen Cummings and the Board to better serve the organizations needs
by strengthening our digital identity and becoming a more sophisticated vehicle for sharing our members and
the elds ideas, activities, and accomplishments.
In addition to furthering these institutional endeavors, I concentrated my own efforts on spearheading a long-
term, democratically determined plan of action for ACSAAs future undertakings, and on enhancing ACSAAs
organizational structure. Accordingly, a members survey was conducted, planning committees on publications,
travel grants, symposia, and development were commissioned, their reports were presented and approved at the
business meeting in Los Angeles, and the proposals were adopted virtually unanimously in the recent general
election.
Special mention must also be made of the Collaboration Agreement that I negotiated between The University
of Michigan History of Art Visual Resources Collections, the Center for Art and Archaeology of the American
Institute of Indian Studies, and ACSAA. The agreement authorizes the ACSAA Digital Images (scanned from
the former ACSAA Color Slide Project previously distributed by The University of Michigan) to be displayed
on the website of the Center for Art and Archaeology and to be made available for free direct downloading of
low-resolution images for noncommercial, educational and research purposes. An ofcial announcement of the
Collaboration Agreement will be posted on the ACSAA listserv later this summer when the images are expected
to go online. Former photographers of the Color Slide Project are requested to contact me directly to grant their
reproduction permission and/or ask for further details. I am grateful to Susan Huntington, in particular, for gen-
erously sharing her extensive expertise on image archive matters.
Another important ACSAA collaboration, albeit just beginning, is an oral history project to document the
founding and formative years of ACSAA. Interviews will be conducted with pertinent individuals to learn the
thinking behind the creation of ACSAA and their reections on its development and possibilities ahead. Please
contact Laura Weinstein for further information.
I would like to thank the ACSAA Board for their strong backing of the initiatives developed for planning the fu-
ture of ACSAA, and look forward to seeing the implementation and improvements of these plans in the years to
come. Deepali Dewan is a great Vice President, and I am condent that she will be a superb President. I urge
you all to support her and to get involved in making a better ACSAA.

Stephen Markel
ACSAA President
smarkel@lacma.org
8 ACS AA 7 4 S UMMER 2 0 1 4 8
ACSAA Member News
Catherine Becker continues as Assistant Professor of Art His-
tory at the University of Illinois at Chicago. Her book,
Shifting Stones, Shaping the Past: Sculpture from the
Buddhist Stupas of Andhra Pradesh, will be published by
Oxford University Press on October 1, 2014. She had the
pleasure of presenting her paper, There is no I in Stupa:
Building Community at Buddhist Sites in Andhra Pradesh,
for a panel organized by Sonal Khullar at the 2014 annual
conference of the Association for Asian Studies. Catherine
has received a research fellowship from the American In-
stitute of Sri Lankan Studies for her new project, Miracle-
performing Monks and Relocated Relics: Artistic Exchange
between Buddhist Communities in Andhra Pradesh and
Sri Lanka. She plans to spend the summer of 2015 in Sri
Lanka.
Rebecca M. Brown has been promoted to Associate Professor
with tenure in the History of Art department at Johns Hop-
kins University and is also currently serving as the Chair of
JHUs Masters program in Museum Studies. With Deborah
Hutton of The College of New Jersey, she co-organized a
symposium in honor of Catherine and Frederick Asher, held
in conjunction with the College Art Association Meeting in
Chicago on February 15, 2014. She participated in an Asia
Art Archive-sponsored seminar at the Clark Art Institute,
led a workshop on South Asia in the curriculum at Winston-
Salem State University, and gave several papers at various
venues on her current research project focused on several
1985-86 Festival of India exhibitions.
Bob Del Bonta joined the international editorial board of Stud-
ies in Asian Art and Culture (SAAC), which will be com-
ing out with a series of publications on art centered at the
Universitt Bonn. He has also given a number of lectures on
the topic of Jaina narrative painting at the Munk School of
Global Affairs, University of Toronto, and the Birmingham
Museum of Art, Birmingham, Alabama. In conjuction with
the exhibition Yoga: The Art of Transformation, Bob gave
lectures and talks on the topic of European encounters with
yogis at the FreerSackler Galleries, the Asian Art Museum
in San Francisco, and Mills College in Oakland. He is cur-
rently working on an introductory essay on Jaina paint-
ing and sculpture for the web site Jainpedia. http://www.
jainpedia.org/
Pika Ghosh co-organized the symposium Chakshudana (Open-
ing the Eyes): Conversations on South Asian Art Celebrat-
ing Michael W. Meister, at the University of Pennsylvania,
Sponsored by the Departments of History of Art, South Asia
Studies, Center for the Advanced Study of South Asia, and
South Asia Center, April 18-19, 2014.
Alexandra Green will open the exhibition Pilgrims, healers,
and wizards: Buddhism and religious practices in Burma
and Thailand at the British Museum from October 2, 2014
to January 11, 2015
Adam Hardy is working on a project funded by World Monu-
ments Fund to work out the original designs (9th- to
11th- centuries) of the ruined temples at Ashapuri, Madhya
Pradesh, and to develop a conservation strategy. http://www.
prasada.org.uk/temples-in-ashapuri/index.
Deborah Hutton along with Rebecca Brown, organized The
Bodhi Tree and the Orchid: A Symposium in Honor of
Catherine B. Asher and Frederick M. Asher, held in Febru-
ary at the University of Chicago. The day-long symposium
and dinner were a great success and much fun. Deborah
would like to sincerely thank everyone who participated and
attended. She and Rebecca currently are working on putting
a volume together of the papers, more information on which
can be found here: http://ashers2014.wordpress.com/ab-
stracts/. Deborah also curated the exhibition, Art Amongst
War: Visual Culture in Afghanistan, 1979-2014, which
was on view at The College of New Jersey Art Gallery in
the spring. She organized a lecture series to accompany the
exhibit, both of which were supported by a major grant from
the New Jersey Council for the Humanities. A pdf of the
exhibition catalogue is downloadable here: https://tcnj.aca-
demia.edu/DeborahHutton . Deborah will be presenting the
paper, Afghanistans Recent Visual Culture in Context, at
the 43rd Annual Conference on South Asia at the University
of Wisconsin in October.
9 ACS AA 7 4 S UMMER 2 0 1 4 9
ACSAA Member News
Kimberly Masteller curated the following exhibitions at The
Nelson-Atkins Museum of Art, Kansas City, Missouri in
2013-14: Echoes: Islamic Art and Contemporary Artists,
and its related installation Illuminations: Ahmed Mater,
August 31, 2013April 27, 2014 and Revealing a Hidden
Treasure: A Jain Shrine from India, June 20, 2014 through
May 31, 2015. Masteller also served as the in-house co-
curator for Roads of Arabia: Archaeology and History of
the Kingdom of Saudi Arabia, April 25 July 6, 2014.
This spring, Masteller organized and chaired the Transla-
tions symposium, March 7-8, 2014, at the Nelson-Atkins
Museum of Art, in association with the Echoes exhibition.
Masteller also co-presented the paper Journeys and Echoes:
Engaging Audiences with Traditional and Contemporary
Asian Art with Colin MacKenzie at the American Cura-
tors of Asian Art conference on May 19, 2014 and served as
a panelist discussing the newly revised Advance Placement
Art History course at the College Art Association confer-
ence on February 15, 2014.
George Michell will give the annual Benjamin Zucker lecture at
the Victoria and Albert Museum on November 6 on Huma-
yuns tomb in Delhi: Supremacy and synthesis in the rst
great Mughal monument.
Kathryn Myers Professor of Art at the University of Connecti-
cut, curated the exhibition Convergence: Contemporary
Art From India and the Diaspora at the William Benton
Museum of Art, The University of Connecticut, from Octo-
ber 24-December 15, 2013. The exhibition showcased the
work of fteen artists who are part of the Bentons perma-
nent collection and celebrated a decade of collecting South
Asian art. The catalog, with a forward by Susan Bean, can
be downloaded at http://www.thebenton.org/
Lisa N. Owen is currently on development leave and enjoy-
ing working on her second book project Rocks, Caves, and
Divinity: Creating Places of Worship in Medieval Southern
India. She presented some of her research on this project
last summer at a workshop-cum-conference at the cole
franaise dExtrme-Orient in Pondicherry. Last April, she
delivered the annual Religions of India Lecture at UC Davis.
Sonal Khullars rst book, Worldly Afliations: Artistic Prac-
tice, National Identity, and Modernism in India, 1930-1990,
is scheduled to appear in spring 2015 from the University of
California Press. The book received a Millard Meiss Publi-
cation Fund Award and Meiss/Mellon Authors Book Award
of the College Art Association. Khullar was awarded an
ACLS Charles A. Ryskamp Research Fellowship for a new
book project, The Art of Dislocation: Conict and Collabo-
ration in Contemporary Art from South Asia. In 2013-14 she
presented research on this project in Los Angeles, Portland,
and Colombo, Sri Lanka, and chaired a session on collabo-
ration at the Association for Asian Studies meeting. Khullar
has been appointed series editor (South Asia) for Brills
Modern Asian Art and Visual Culture series. She encour-
ages ACSAA members to submit book proposals for mono-
graphs and edited volumes to this exciting new series with
a focus on interdisciplinary and comparative approaches to
Asian art and visual culture since 1850.
Risha Lee curated the exbibition Imperial Nature: Flora, Fauna,
and Colonialism in India, which focused on Lady Impeys
paintings at the Minneapolis Institute of Arts which ran from
Jan 18-April 20.
Stephen Markel after nineteen years as the Head of LACMAs
Department of South and Southeast Asian Art, he has
decided now to concentrate on research and publishing the
museums permanent collection. Accordingly, he has tran-
sitioned at his own request to the newly created position of
Senior Research Curator. Marks rst major project will be
writing the online catalogue of the museums renowned later
South Asian Decorative Art collection. The position of De-
partment Head of South and Southeast Asian Art is expected
to remain vacant for some time.
1 0 ACS AA 7 4 S UMMER 2 0 1 4 1 0
ACSAA Member News
Neeraja Poddar is the Andrew W. MellonAnne
dHarnoncourt Postdoctoral Fellow in South Asian Art
Philadelphia Museum of Art.
Melody Rod-ari opened an exhibition of Himalayan Buddhist
material at the Norton Simon Museum entitled In the Land
of Snow, which is on view from March 28-August 25. She
is currently organizing an exhibition of prints by the mod-
ernist artist Ruth Asawa. In addition to curating, Melody
taught a year- long seminar on the ethics of owning art at
Occidental College, and participated in a CAA sponsored
roundtable on fairuse and copyright laws at the Law School
of the University of Southern California.
Stephanie Rozman is the Norma Jean Calderwood Curatorial
Fellow at the Harvard Art Museums.
Tamara I. Sears gave a number of invited lectures and confer-
ence presentations, which included a paper on Jaina temples
in medieval central India in honor of Michael W. Meister
at University of Pennsylvania as well as giving papers on
the topic of yoga and the ascetic body at the American
Academy of Religion, held in Baltimore, the Freer-Sackler
Museum, and the Fralin Museum at the University of Vir-
ginia. She presented papers at the Sorabjee/Saivetz sympo-
sium, Brandeis University, on Wandering the Wilderness
Between Temple and Town: Architecture and Landscape
in Medieval Madhya Pradesh, as well as Considering
Kadwh as Palimpsest: Continuities, Discontinuities, and
Layers In-Between, at a symposium on The Monument as
Palimpsest, Wesleyan University.
Walter Spink would like announce that Brill has published Vol
6 of his Ajanta study, with lots of pictures; Vol 7 also, with
lots of pictures will be out by Fall 2014. Both include a
study of Bagh, which is a sister site to Ajanta--essentially
totally contemporary. Since Maharaja Subandha (dated to
486 via his Barwani inscription) claims to have not only
supported the still-ourishing monastery at Bagh (see his
Bagh plate) but to have allocated funds for repairing the
rent and broken portions of the caves, we can be sure that
the Bagh caves were excavated and extensively used some
years or decades earlier than 486. Therefore that must be
true for Ajanta too--that is, its excavation (and also its aban-
donment) must date well before 486 too, conrming what is
called the Short Chronology (c. 462 - c 478).
Doris Meth Srinivasan was invited to participate in the
Workshop on Mathura in Berlin, supported by Indo-German
institutions, where she gave a paper entitled Mathuras
Personality vs. Development of Hindu Narrative Art.
1 1 ACS AA 7 4 S UMMER 2 0 1 4 1 1
ACSAA Member Publications
Becker, Catherine. Shifting Stones, Shaping the Past: Sculpture
from the Buddhist Stupas of Andhra Pradesh. Oxford Uni-
versity Press, October 2014.
Brown, Rebecca M. Colonial Polyrhythm: Imaging Action in
the Early Nineteenth Century. Visual Anthropology 26.4
(2013): 269-97.
Buhnemann, Gudrun. Bhairava and the Eight Charnel
Grounds: On the History of a Monumental Painting at the
Jayavagisvari Temple, Kathmandu. Berliner Indologische
Studien 21 (2013): 307-326.
_____. A dharani for each day of the week: The saptavara
tradition of the Newar Buddhists. Bulletin of the School of
Oriental and African Studies vol. 77, no.1 (2014): 119-136.
Chanchani, Nachiket. The Jageshwar Valley: Where Death is
Conquered. Archives of Asian Art 63.2 (2013).
_____. From Asoda to Almora, the Roads Less Taken: Maru-
Gurjara Architecture in the Central Himalayas. Arts Asi-
atiques 69, forthcoming.

Cort, John E. Today I Play Hol in My City: Digambar Jain
Hol Songs from Jaipur. International Journal of Jaina
Studies (online), 9:7 (2013): 1-50.
_____. God Outside and God Inside: North Indian Digambar
Jain Performance of Bhakti. In Bhakti Beyond the Forest:
Current Research on Early Modern Literatures in North
India, 2003-2009, ed. Imre Bangha. New Delhi: Manohar,
2013, 255-86.
_____. External Eyes on Jain Temple Icons. Material &
Visual Cultures of Religion, Nov. 2013. http://mavcor.yale.
edu/conversations/obhect-narratives/external-eyes-jain-
temple-icons.
_____. Review The Making of a Modern Indian Artist-Crafts-
man: Devi Prasad, by Naman P. Ahuja. Journal of the
American Oriental Society 134 (2014): 148-50.
Del Bonta, Bob. Paintings from the Courts of India & Persia.
Art Passages, 2014. On-line at: http://www.artpassages.
com/exhibitions/exhibition01.php
_____. Catalogue entries on Jaina material. In Realms of Won-
der: Jain, Hindu and Islamic Art of India, eds. James Ben-
nett and Adelaide. Art Gallery of South Australia, 2013, pp.
16-7, 24-29, and 48-55.
_____. Indian paintings in early modern Europe: Rma, a case
study, requested by: Chhatrapati Shivaji Maharaj Vastu
Sangrahalaya, Bombay, in press.
Ghosh, Pika. If Remembering Hari Enriches Your Heart:
Visual Imagery and Devotional Experience In Bengali
Vaishnava Temples. Journal of Vaishnava Studies 22.1
(Fall 2013): 227-251.

_____. Dance, Trance, and Transformation: The Art of Move-
ment in Gaudiya Temples. Journal of Vaishnava Studies
21.2 (Spring 2013): 83-106.
Hardy, Adam. Theory and Practice of Temple Architecture in
Medieval India: the Samargaastradhra and the Bho-
jpur Line Drawings (Translations from Sanskrit by Mattia
Salvini). New Delhi: Indira Gandhi National Centre for the
Arts, with Dev Publications, 2014. http://www.prasada.org.
uk/theory-and-practice.
Hutton, Deborah. Finally, her article (co-authored with Rebecca
Tucker), The Worldly Artist in the 17th century: Cornelis
Claesz. Heda and his Travels from Haarlem to Bijapur, will
be published in the fall issue of Art History.
Kaimal, Padma. Lakm and the Tigers: A Goddess in the
Shadows. In The Archaeology of Bhakti: Mathur and
Maturai, Back and Forth, eds. Charlotte Schmid and Em-
manuel Francis. Pondichry: Ecole franaise dExtrme-
Orient/Institut franais de Pondichry, 2014, 142-176.
Kirkpatrick, Joanna. Krishnas Peaceable Kingdom: Note on
an Unusual Figure in a Dasavatara Indian Miniature Paint-
ing, ca.1730. Journal of Vaishnava Studies, 2013.
Maki, Ariana. Co-author and editor. Artful Contemplation:
Collections from the National Museum of Bhutan. National
Museum of Bhutan: Thimphu, 2014.
1 1
1 2 ACS AA 7 4 S UMMER 2 0 1 4 1 2
Owen, Lisa N. Relationships between Art, Architecture, and
Devotional Practices at Ellora. In Living Rock: Buddhist,
Hindu, and Jain Cave Temples in the Western Deccan, ed.
Pia Brancaccio. Mumbai: Marg Publications, 2013, 126-
137.
Rod-ari, Melody.Asian American Artists. In Encyclopedia
of Asian American Culture, ed. Lan Dong. ABC-CLIO,
forthcoming.
_____. Connecting People, Collecting Histories: The Pacic
Rim and South and Southeast Asian art Collections in Los
Angeles Museums. Journal of the History Of Collections,
ed. Sonya Lee. Oxford University Press, forthcoming.
Sears, Tamara I. Worldly Gurus and Spiritual Kings: Archi-
tecture and Asceticism in Medieval India. New Haven, CT:
Yale University Press, 2014.
_____. Encountering Ascetics On and Beyond the Indian
Temple Wall. In History and Material Culture in Asian
Religions, eds. Benjamin Fleming and Richard Mann. Rout-
ledge, 2014, 172-194.
_____. Conference Precis. Asia and the Middle East, the Soci-
ety of Architectural Historians Annual Conference, Buffalo,
NY, April 10-14, 2013. International Journal of Islamic
Architecture 3, no. 1 (2014): 230-233.
_____. Drain-spout in the Form of a Flying Celestial Figure,
Object Narrative, in Conversations: An Online Journal of
the Initiative for the Study of Material and Visual Cultures
of Religion, 2014. http://mavcor.yale.edu/conversations/
object-narratives/drain-spout-form-...
_____. Portraying the Guru. In Yoga: The Art of Transforma-
tion, ed. Debra Diamond. Random House, 2014, 114-117.
_____. Mapping Omkareshvaras Early Medieval Past: Fol-
lowing Sculptural Fragments along the Parikrama Path.
In Patrimoine Culturel de LEau: Cities and Settlements,
Temples and Tanks in Central India, ed. Michael Willis,
Doria Tichit, and O.P. Mishra. Bhopal : Directorate of Ar-
chaeology, Archives & Museums, Govt. of Madhya Pradesh,
2014), forthcoming.
_____. In the Gaze of the Guru: Shikshadana Scenes at Kha-
juraho. In Art, Architecture and Iconography in South Asia:
A Felicitation Volume in Honour of Dr. Devangana Desai,
ed. Anila Verghese and Anna L. Dallapiccola. Delhi: Aryan
Books International), forthcoming.
Seyller, John and Mittal, Jagdish. Pahari Paintings in the Jag-
dish and Kamla Mittal Museum of Indian Art. Hyderabad,
2014.
_____, Goswamy, B.N., Losty, Jeremiah Losty. A Secret Gar
den: Indian Paintings from the Porret Collection. Zurich:
Museum Rietberg, 2014.
Vajracharya, Gautama V. Frog Hymns and Rain Babies: Mon-
soon Culture and the Art of Ancient South Asia. Mumbai:
Marg Foundation, 2013.
Woodward, Hiram. What There Was Before Siam: Traditional
Views. In Before Siam: Essays in Art and Archaeology,
eds. Nicolas Revire and Stephen A. Murphy. Bangkok:
River Books and The Siam Society, 2014, 1729.
_____. Stylistic Trends in Mainland Southeast Asia, 600800.
In Lost Kingdoms: Hindu-Buddhist Sculpture of Early
Southeast Asia, ed. John Guy. New York: The Metropolitan
Museum of Art, 2014, 12229.
ACS AA 7 4 S UMMER 2 0 1 4 1 3
In Memoriam
A Tribute to our
Recently Departed
Peter Hardy (1923-2014)
Dr. Peter Hardy, Reader in the History of Islam in South Asia, and a lecturer in the SOAS History Department
from 1947 to 1983, died, aged 91. He was a specialist in the Sultanate period of South Asian history, with a
particular interest in Indo-Persian historiography, notably, Historians of Medieval India (London, 1960, repub-
lished New Delhi, 1997), but a later work, The Muslims of British India (Cambridge, 1972), was widely used on
courses concerning the colonial period.
John Roseneld III (1924-2013)
I still recall Johns nearly boyish enthusiasm for three newly uncovered, inscribed Jain images from near Vidi-
sha which pointed a link between late Kushan and Gupta (the now well-known Ramagupta images). This was
our rst meeting, in the cold season of 1968, in his house in Delhi that he and Ella were sharing, a year follow-
ing the publication of his The Dynastic Art of the Kushans.
He held the photos out, waiting for me to add something. An embarrassing silence lled the room. Per-
ceiving that I was a newcomer to Indian art, he then gently explained the signicance of these discoveries, in a
Socratic way, asking me questions and encouraging me to formulate my own views. My ignorance at the time
was not dismissed; rather, it prompted his kind attention. These three stone panels suddenly came to life, allow-
ing me to appreciate the discovery and how it helped to close a gap in our understanding of early Gupta sculp-
ture.
Such enthusiasm for knowledge and his patience as a teacher in the best sense of the word are quali-
ties that John shared with everyone. We met on and off in the subsequent decades. And I was always struck by
his intense enthusiasm for the beautiful complexity of culture. And always shining through was the same sparkle
in his eyes that I had seen in Delhi when he awakened me to the pleasure of appreciating three lifeless stones
recently dug out of the ground. This was a moment we shared in 1968, when I was an under-graduate, but it has
stuck with me, reminding me of John and always serving as an inspiration.

Donald M. Stadtner

ACS AA 7 4 S UMMER 2 0 1 4 1 4
In Memoriam
A Tribute to our
Recently Departed
My recollections of John Roseneld are vivid and convey my sense of loss upon learning of his death. We
shared the same vibrations as we passed through the life of our careers hopefully to our mutual prot but cer-
tainly to mine. His book on Chosens wooden portraiture is beside me as I write these words.
He was a consistently energetic force in our eld from the time we were in graduate school together.
Our view of the Far East was nurtured in the musty yet friendly basement environment of Harvards Rubell
Library, where the books on Asian art were kept, under the guiding hand of Benjamin Rowland.
John had an extraordinary sense of personal relations. We will never forget how closely related he was to this
personal approach. He was not just a professional. He was a great man because he was a warm hearted person
and one whom you could always meet on a personal level, a quality seldom found in those too wrapped up in
their professional duties and accomplishments.
It goes without saying we shared an interest in the world of art but in addition his memory is warmly
related to activities of our whole family. Along with his intellectual skill this made him a great man to us. We
lived in the same rented house serially. We lived at Teramachi Imadegawa-angaru Junenji-mai in Kyoto (not far
from the Imperial Palace grounds) in 1958-59. Later the Rosenelds lived there in 1964 and we took up occu-
pancy there again in the summer of 1964 after their departure.
He reached out to my children and family who remember how welcoming he and Ella were when we
stopped over in Los Angeles and stayed with the Rosenelds on our way to the Far East.
He was especially helpful to my daughter, Joan, a college sophomore at the time (1968/69) who was
apartment hunting in Boston having found a summer job there. She did not meet with immediate success and
as John drove her to various locations he reassured her that the Perfect Pumpkin is somewhere instilling hope
that the ideal apartment was just around the corner. If one is willing to share family matters with a friend it is a
clear indication of resilience in dealing with the inevitable problems of living.
His kindness to our family was an emanation of warmth from his own with Ella, Sarah and
Paul Thomas.
My lateness in expressing my thoughts in no way diminishes the shock and bereavement felt at having to
relinquish such a constant friend and insightful scholar so superior in humanity. Would that he were still work-
ing among us.
Richard Edwards

ACS AA 7 4 S UMMER 2 0 1 4 1 5
Pascal Royre (1965-2014)
Pascal Royre, director of studies of the cole franaise dExtrme-Orient (EFEO) and restorer of the 11th cen-
tury Baphuon temple, died on 5 February 2014 aged 48.
When Royre faced the gigantic puzzle of 300,000 blocks of sandstone from the Baphuon, scattered
over 10 hectares of forest land adjacent to the walled Royal Palace of Angkor Thom, he had his work cut out
for him. Sixteen years later, the seemingly impossible task was accomplished, and on 3 July, 2011, the restored
Baphuon, one of the most impressive monuments of Angkor, was opened to the public in the presence of the
King of Cambodia Norodom Sihamoni and then French Prime Minister Franois Fillon. Given the size and
complexity of the project, the Baphuon restoration has been hailed as one of the most spectacular undertaking in
the eld of monument conservation in the past twenty years.
Trained as an architect, Royre became a junior research fellow at EFEO in 1993. In 2002, after com-
pleting his PhD in art history at the University of Paris with a thesis on the architectural history of the Baphuon,
he was appointed lecturer in the Architecture of Cambodia at the EFEO. In addition to his exceptional scholarly,
linguistic and technical accomplishments, Royre was a gifted project manager and leader of men, as well as a
charismatic public communicator. He was repeatedly decorated by both the French and Royal Cambodian gov-
ernments. In 2007, he received the prestigious Grand Prix of the Prince de Polignac Foundation, and in 2011,
he was a co-winner of the Grand Prix dArchologie of the Simone and Cino del Duca Foundation awarded to
the EFEO Centre in Siem Reap. In 2012, Royre received the Medal of Archaeology of the French Academy of
Architecture.
Appointed EFEO director of studies in 2011, Royre was entrusted that year with a new large-scale
restoration project: the Western Mebon temple situated on an articial island in the Western Baray reservoir of
Angkor and dating to the same period as the Baphuon. The Mebon restoration was jointly launched by EFEO
and the Cambodian national authority APSARA in 2012, under Royres energetic leadership and with funds
provided by the French and Cambodian governments, notably the French Foreign Ministry.
In the summer of 2013 cancer struck Royre, in the fullness of life and at the height of his profession.
As Pascal was well aware, the massive monuments of Khmer civilization that he so painstakingly restored were
often brought down by minute, windborne seeds. Germinating and sinking their roots into small gaps between
the stones, these seeds grew into the gigantic trees that would red the imagination of 19th-century European
travelers. Eventually dislodging the stonework and destabilizing the temples, the invasive vegetation of Angkor
gave rise to romantic musings about the perpetual battle between art and nature.
Pascal Royre leaves behind his wife and young daughter, his parents and his grandmother. EFEO has
lost one of its most emblematic gures, as well as an esteemed colleague and friend.
Franciscus Verellen
Originally published by Orientations Magazine in April 2014.
In Memoriam
A Tribute to our
Recently Departed
1 6 ACS AA 7 4 S UMMER 2 0 1 4 1 6
About Teaching...
JHU and the Walters Art Museum
Encouraging students to encounter objects in per-
son has long anchored the pedagogical practice of
art historywe send them off to the museum or we
organize group visits to storage, and we construct
assignments that enable them to think with the ob-
jects in front of them rather than solely with scholarly
and primary texts. In the fall semester of 2013, Rob
Mintz, the curator of Asian art at the Walters Art Mu-
seum in Baltimore, and I collaborated on an upper-
level undergraduate seminar that challenged students
to think not only about individual objects but also
about a collection and its reinstallation. Johns Hop-
kins program in Museums and Society had received
a major grant from the Andrew W. Mellon Foundation
to support innovative teaching in the museum, en-
abling and encouraging our entire pedagogical experi-
ment from beginning to end. Spurred by the need to
renovate Hackerman House, the historic home that
houses much of the Asian art collection at the Wal-
ters, Mintz had already taught a Mellon-supported
seminar the previous fall focusing on the East Asian
collections; our jointly taught course served as its
South and Southeast Asian counterpart. The course
culminated in the students presenting their visions of
a reinstallation of a portion of the collection. In order
to facilitate this, the Mellon grant funded a Johns
Hopkins computer science student intern to create
Google Sketchup templates that provided three-
dimensional images of portions of the Walters gal-
lery space. Students chose 1015 objects to display in
these virtual spaces and then worked with us and their
colleagues to think through how to present objects,
ideas, histories, and art histories to a public largely
unfamiliar with Asian art of any era or region. Along
the way to this nal project, students were asked to
write analyses of the existing South and Southeast
Asia galleries, examine other permanent installations,
and discuss key texts in museum practice, collecting
history, and Asian art history.
We had four engaged and active students, with
a range of experience in art history, in museums, and
in topics related to Asia. In addition to the normal
range of activities related to an undergraduate semi-
narseveral weeks of theoretical and methodological
readingswe spent a great deal of the seminar time
in the galleries and in storage, examining objects,
discussing display choices, label information, and
installation design. Some of the seminars discussion
sprang from a summer-long projectagain funded by
the Museums & Society Mellon Foundation grantto
gather together a range of images of permanent instal-
lations of South and Southeast Asian collections from
around the world, as widely as we could. Many AC-
SAA members helped us to collect this information,
providing images of both current installations and,
on occasion, historical installations. We were able to
collect images from museums as widely dispersed
as Australia, Myanmar, Switzerland, and of course
across North America. During the semester, we used
these to anchor one major writing assignment for the
students and we turned to them often in seminar in
order to unpack the wide range of paths museums
pursued in displaying their collections. We also used
the images to discuss how the collection itself shapes
the choices a curator and museum staff can make in
any installation. (While we cannot make these im-
ages freely available due to copyright restrictions, we
are happy to work with colleagues who would like to
access these installation photographs for research or
teaching purposes; please contact me at rmbrown@
jhu.edu.)
In the end, the students presented exhibitions
that staged encounters between objects and paintings,
a focus show that drew together formal connections
related to disembodied heads and decapitated bodies,
a broad engagement with the history of courtly art in
South Asia, and a multi-layered exhibition that drew
viewers in via the thematic of love and left them with
an engagement with religion. The students had ex-
posure on a formal and informal level to what makes
a museum tick and how curatorial choices are made
and constrained by the particular relations of power at
1 7 ACS AA 7 4 S UMMER 2 0 1 4 1 7
at work in any given institution, city, and collection.
We were incredibly lucky to have the John and Berthe
Ford Collection, the Alexander B. Griswold Collec-
tion, and the Southeast Asian collection of the Doris
Duke Charitable Foundation at the Walters for stu-
dents to work with. The support and energies of the
Museums and Society program made the course pos-
sible both with funding from the Mellon Foundation
and with the active and engaged encouragement of
the programs director, Elizabeth Rodini. The support
from Hopkins, the Walters, and the Mellon Founda-
tion enabled our pedagogical experimentation and we
hope will spur more of these kinds of collaborations,
allowing students to delve deeper into the museum
world and to think with objects and collections, per-
haps even providing curators with ideas for the future
installations of Asian art.
The Museums and Society program is a
cross-disciplinary undergraduate program under the
direction of Elizabeth Rodini: http://krieger.jhu.edu/
museums/. For more information on the renovation of
Hackerman House, see: http://articles.thewalters.org/
were-on-the-move/.
Rebecca Brown
...
1 8 ACS AA 7 4 S UMMER 2 0 1 4 1 8
About Curating...ACAA Forum 2014
The American Curators of Asian Art (ACAA) Fo-
rum was established in 2009 by the curators of the
FreerSackler Galleries. This year the Forum was
held at the Los Angeles County Museum of Art
(LACMA) in Los Angeles, CA from May 19-20th.
The event was hosted by the curators of the Chinese
and Korean, South and Southeast Asian, and Japa-
nese art departments at the museum. The Forum was
organized around three panels as well as Pecha Kucha
sessions peppered throughout, which allowed partici-
pants to share their existing and upcoming projects.
The rst panel, Past & Present, Present and
Past: Challenges of Presenting Contemporary Asian
Art in Juxtaposition with Traditional Asian Art, was
moderated by Bindu Gude (LACMA). A reoccurring
topic of interest at the Forum, this years discussion
was led by Colin Mackenzie (Nelson-Atkins), Kim-
berly Masteller (Nelson-Atkins), Christine Starkman
(MFA, Houston) and Madhu Ghose (Art Institute of
Chicago). Presenters described the challenges they
faced from their museum administrators, among other
curatorial departments at their institutions, and by
artists who did not wish to be exhibited exclusively
in the Asian galleries. Most of the curators stated that
there was little collaboration among their departments
and their contemporary art colleagues. However, in
the case of the Art Institute of Chicago the artist, Nili-
ma Sheikh, did not want her work to be shown in the
Asian galleries. The curator was able to secure gal-
lery space typically used to exhibit contemporary art,
which satised the artist. However, all of the funding
and logistical work of putting on the exhibition was
not shared between departments, which was entirely
funded by the Indian and Southeast Asian department.
At the Nelson-Atkins, the curators spoke of the logis-
tical challenges of presenting contemporary material
alongside ancient works of art. By utilizing in gallery
demonstrations as well as innovative displays, both
curators found that visitors were much more engaged
and spent more time in the galleries looking at art.
The second panel, Art Museums and Col-
lections as Venues for Training Connoisseurship,
was moderated by Richard A. Pegg (MacLean Col-
lection). The panel brought together curators whose
institutions have secured Andrew W. Mellon Founda-
tion funds to train students in museum settings. The
presenters included Hiromi Kinoshita (Philadelphia
Museum of Art) and Ellen Avril (Herbert F. John-
son Museum of Art at Cornell University.) This past
academic year marks the inauguration of the program
at both institutions. The goal of the program is to
better train future art historians and museum curators.
The courses offered took place at museums rather
than in the classroom and allowed students to work
intimately with the art, curators, conservators and
other museum staff. Both curators were surprised by
how few students signed up for the courses, which
focused on both practical and theoretical training. The
students who did enroll were said to be very happy
with the courses. The hope is that continued offerings
of the courses will increase enrollment numbers in
future years.
The third panel, The Fate of the Mono-
graphic Exhibition, was moderated by Christina Yu
Yu (LACMA). The panelists included Anita Chung
(Cleveland Museum) and Stephen Little (LACMA).
Chungs recent exhibition featured the works of Fu
Baoshi (1904-1965) and Littles future exhibition is
centered on the painter Qiu Ying (c. 1495-1552). The
consensus among both curators was the difculty of
determining a title that would appeal to non-specialist
audiences, as neither artist is a household name
among western audiences. Many of the participants
thought that the panel should be renamed the Future
of the Monographic Exhibition as it was agreed that
curators should be promoting Asian artists in America
so that they are just as well-known as their western
contemporaries. The committee had hoped to include
a non-modern, non-contemporary South or Southeast
Asian artist, but the lack of extensive material by a
single artist within these parameters resulted in its
exclusion.
During the Forum, the ever popular Tales
from the Crypt session allowed participants to exam-
ine curious works of art from LACMAs vaults. Ob-
jects included paintings from the Chinese and Korean
departments as well as sculptures from the Japanese
and South and Southeast Asian departments.
In 2015, ACAA will be hosted by the curators
of the Crow Collection in Dallas and the Kimbell Art
Museum in Fort Worth, Texas. Dates of the confer-
ence have yet to be determined.

Melody Rod-ari
ACS AA 7 4 S UMMER 2 0 1 4 1 9
Association for Asian Studies
March 27-30, 2014: Philadelphia
[Below are panels dedicated/related to South and Southeast Asian art. For the entire program please see http://www.asian-studies.org/
Conference/index.htm]
Cambodian Ceramics, Settlement Patterns, and Environmental Adaptation - Sponsored
by Center for Khmer Studies
Session Organizer: John Norman Miksic, National University of Singapore
Prehistoric Research in Somrong Sen
Vanna Ly, Apsara Authority
Kiln Sites in the Angkor Region
Rachna Chhay, Authority for the Protection and Management of Angkor and the Region of Siem Reap
The Mong Site and Cheung Ek Kilns
Kaseka Phon, Royal Academy of Cambodia
New Data on Phnom Kulen
Darith Ea, Apsara Authority
Collaboration As Creative Practice in South Asian Art
Session Organizer: Sonal Khullar, University of Washington
There Is No I in Stupa: Building Community at Buddhist Sites in Andhra Pradesh
Catherine M. Becker, University of Illinois at Chicago
Myths of Creation, Person, and Practice in Contemporary South Asian Temple Construction
Samuel K. Parker, University of Washington, Tacoma
Cloths Painted with Dyes: The Intertwined Artisanship of Seventeenth-Century South Asian Textiles
Sylvia Houghteling, Yale University
Constitutive Collaboration in Mughal Painting Practice
Yael Rice, Amherst College
Ideas of Asia in the Museum
Session Organizer: Sonya S. Lee, University of Southern California
A Thousand Graces: Charles L. Freer and Collecting Chinese Buddhist Art in Early Twentieth-Century America
Daisy Yiyou Wang, Peabody Essex Museum
Celebrating Japans National Spirit for Design and Craftsmanship: Early Acquisitions of Japanese Art at the
Nelson-Atkins Museum of Art
Patricia J. Graham, University of Kansas
ACS AA 7 4 S UMMER 2 0 1 4 2 0
Association for Asian Studies
March 27-30, 2014: Philadelphia
Kucha Mural Fragments in the Smithsonian
Sonya S. Lee, University of Southern California
The Power of the Story: Notes on Collecting and Displaying Ancient Artifacts in Middle Eastern Museums
Alexander Nagel, Smithsonian Institution
Key Issues in Asian Studies: A Teaching Resource - Sponsored by Committee for Teaching
About Asia (CTA)
Chair: Brenda G. Jordan, University of Pittsburgh
Korea in World History
Donald N. Clark, Trinity University
Global India circa 100 CE: South Asia in Early World History
Richard H. Davis, Bard College
Modern Chinese History
David Kenley, Elizabethtown College
Japanese Popular Culture and Globalization
William M. Tsutsui, Southern Methodist University
Mobilities of Craft Since 1900: Economics, Politics, Aesthetics
Session Organizer: Rebecca M. Brown, Johns Hopkins University
The Ideology of Craft and the Making of an Asian Modern Aesthetic
Aarti Kawlra, Nehru Memorial Museum and Library
The Japan Folk Crafts Museum in 1936: Marketing Crafts in the Museum
Seung Yeon Sang, Boston University
Crossroads of Vietnamese Craft, 1956-1961: Questions of Belonging
Jennifer Way, University of North Texas
The Return of Craft in the Age of Global Mass Production
Nellie Chu, University of California, Santa Cruz
ACS AA 7 4 S UMMER 2 0 1 4 2 1
Association for Asian Studies
March 27-30, 2014: Philadelphia
Production of Space and Emotions in South Asia
Session Organizer: Razak Khan, Freie Universitt Berlin
Mapping Emotions, Constructing Feelings: Delhi in the 1840s
Margrit Pernau, Max-Planck-Institut
Qasbahs as Space: Belongingness and the Meaning of Place in Colonial India
Mohammad Raisur Rahman, Wake Forest University
Nostalgic Pasts: Space, Emotions, and Histories of Princely Rampur
Razak Khan, Freie Universitt Berlin
Cultivating Felt Needs: The Aesthetics of Village Reform in 20th-Century India
Will Glover, University of Michigan
Mortuary Ritual and Material Culture in Southeast Asia
Session Organizer: Alison Kyra Carter (University of Wisconsin, Madison)
The Perfect Funeral of King-Father Norodom Sihanouk: Ritual Imagination in Contemporary Cambodian Spec-
tacle, Erik W. Davis, Macalester College
Between the Living and the Dead: The Three-Tailed Funeral Banner of Northern Thailand
Rebecca S. Hall, Virginia Commonwealth University
A Preliminary Consideration of Dvaravati Mortuary Regimes
Wesley Clarke, Ohio University
Phnom Yong Mortuary Towers in Southwestern Cambodia
Eve Zucker, Independent Scholar

Photographic Encounters in Republican China and Colonial India: The Work of Zhuang
Xueben Seen through a Transnational Lens, 1934-1945
Session Organizer: Yajun Mo (Long Island University)
Journey to the West: Internal Orientalism, Nation-Building, and the Photographic Frontier in Republican
China, Yajun Mo, Long Island University
Temples, Tribals and Sino-Indian Trade: Pan-Asian Nationalisms and the Everyday in Zhuang Xuebens Photo-
graphs of India, Amy Holmes-Tagchungdarpa, University of Toronto Scarborough
Ethnicity, Autonomy, and Creolization: Zhuang Xuebens Images of the Tu (Monguor) as Counter-Archive
Gerald Roche, Uppsala University

ACS AA 7 4 S UMMER 2 0 1 4 2 2
Refashioning Identities: The Politics of Dress in Early Modern Southeast Asia
Chair: Pattaratorn Chirapravati, California State University, Sacramento
Modernising the Monarch: The Adoption and Adaptation of Victorian and Edwardian Fashion and Military
Uniform in the Siamese Royal Court of King Chulalongkorn, Lupt Utama, Royal College of Art/The Victoria
and Albert Museum
Royal Fashions: Reections on Modernizing the Image of Siamese Women in the Late Nineteenth Century
Pattaratorn Chirapravati, California State University, Sacramento
A Hybrid Cosmopolitan: Princess Dara Rasami and the Politics of Dress and Ethnic Difference in the Siamese
Palace, Leslie Ann Woodhouse, University of California, Berkeley
In Search of Identity: The Transformation of Shan Ofcial Costume from the Late 19th to Mid 20th Centuries
Thweep Rittinaphakorn, Independent Scholar
Rethinking Affect, Emotion, and Sentiment in Post-Reform Vietnam
Chair: Merav Shohet, University of Toronto Scarborough
The Anxiety of Well-Being: Modernizing Affect in a Vietnamese Psychiatric Unit
Allen L. Tran, Bucknell University
Staging Affect and Excess: Artistic Preoccupations in Ho Chi Minh City, Vietnam
Pamela Nguyen Corey, Cornell University
Effecting a Good Death: Literacy, Ritual, and Affect in Nng, Vietnam
Merav Shohet, University of Toronto Scarborough
Shirdi Sai Baba: A Saint for All Seasons, for All Reasons in a Time of Indeterminacy
Chair: Angela Rudert, Ithaca College
If You Look to Me, I Look to You: Teachings on Photography in the Shri Sai Satcharita
William Elison, Dartmouth College
Santa Baba or Christmas Chennai Style
Joanne Punzo Waghorne, Syracuse University
Love All, Serve All: Shirdi Sai Baba Devotion in the United States
Karline McLain, Bucknell University
A Saint of Edges and In-Betweens: Haptic Visualities in Devotional Diasporas of Shirdi Sai Baba
Mary (Polly) Nooter Roberts, UCLA, Allen F. Roberts, UCLA
Association for Asian Studies
March 27-30, 2014: Philadelphia
ACS AA 7 4 S UMMER 2 0 1 4 2 3
Association for Asian Studies
March 27-30, 2014: Philadelphia
Strangeness in China and India
Session Organizer: Pasha Mohamad Khan, McGill University
Encountering Otherness: Chinese Zhiguai and Writing the Transsexually Strange
Wenjuan Xie. University of Alberta
Gul-i Bakawali: Recovering the History of a Romance in Colonial India
Pasha Mohamad Khan, McGill University
Between Image and Relic: Painted Bodhi Tree Leaves in Eighteenth-Century China
Michele Matteini, Reed College
Spectacles of Strangeness: Melodrama, Mythmaking, and the Production of Modern Enchantments in Parsi
Theatre, Sonal Acharya, University of California, Berkeley

Tyranny of the Greek?: Borders, Paradigms, and the Lands in Between
Session Organizer: Vimalin Rujivacharakul, University of Delaware
The Origin of the Buddha Image and the Western Imagination
Susan L. Huntington, The Ohio State University
Japan in Asia and the World: Art
Elizabeth Lillehoj, DePaul University
Along the Buddhas Steps, Should We Find Alexander the Great or Darius III?
Vimalin Rujivacharakul, University of Delaware
Orientalist Endeavors in the Late Ottoman Empire and the Disassembling of Hellenist Paradigms in Architec-
tural History, Peter Hewitt Christensen, Harvard University

ACS AA 7 4 S UMMER 2 0 1 4 2 4
College Art Association
February 12-15, 2014: Chicago
[Below are panels dedicated to or inclduing South and Southeast Asian art. For the entire program please see http://conference.col-
legeart.org/2014/downloads.php
ACSAA (sponsor)
Artistic Practices in the long-eighteenth century
Chair: Yuthika Sharma, Goethe-Universitt
Copying Contexts: Picturing Places and Histories in Udaipur Court Painting and Picarts Atlas Historique
Dipti Khera, New York University
Forging New Identities: The Role of the Artist in Eighteenth-Century Northern India
Malini Roy, The British Library, London
The Divine Surface: Thanjavur Painting, Seventeeth-Nineteenth Centuries
Caroline Duke, University of California, Berkeley
Maratha Art and Moors Hindu Pantheon (1810)
Holly Shaffer, Yale University
The Medium, Before and After Modernishm, Part I
Chair: Roland Betancourt, Yale University
Discussant: Charles Barber, Princeton University
Marble as Meta-Medium in Islamic Architecture
Finbarr Barry Flood, Institute of Fine Arts, New York University
Unfolding Layers
Beate Fricke, University of California, Berkeley
Is Illustration a Medium?
Michael Lobel, Purchase College, State University of New York
Beyond the Divide of Art and New Media: Blueprint for a Media Reexive Theory of Art
Sjoukje S. van der Meulen, University of Amsterdam
ACS AA 7 4 S UMMER 2 0 1 4 2 5
College Art Association
February 12-15, 2014: Chicago
Contemporary Art and Radical Democracy in Asia
Chairs: Bo Zheng, City University of Hong Kong; Sohl Lee, University of Rochester
Contemporary Art through the Collective/Polemic Interventions in Radical Art and Democracy in Asia: With
Focus on Indonesia
Thomas J. Berghuis, Guggenheim Museum
Polylectical Resistance: Contemporary Art and the Pursuit of Radical Democracy in Reform Period China
Paul Gladston, University of Nottingham
Performance, Belonging, and Radical Democracy in Samudra Kajal Saikias Disposable House Project(2012)
in Guwahati, Assam
Melissa Rose Heer, University of Minnesota
Failure, Trauma, and Radical Art in South Korea
Young Min Moon, University of Massachusetts, Amherst
Early Modern Imperial Landscapes in Comparative Perspective
Chair: Stephen Whiteman, Center for Advanced Study in the Visual Arts, National Gallery of Art
Jean-Baptiste Oudrys Tapestry Series, Chasses Royalesor LHistoire de Louis XV: Landscapes of Power, Pros-
perity, and Peace
Julie A. Plax, University of Arizona
The Imperial Aesthetic in the Early Modern Rajput Pleasure Garden
Susan Johnson-Roehr, University of Illinois at Urbana-Champaign
La Maison Rustique: Tracing Imperial Ambition and Landscape in Sixteenth-Century France
Kelly D. Cook, Cornell University
Hideyoshis Capitals: Mapping Power in Early Modern Japan
Anton Schweizer, Institute of Fine Arts, New York University
A Garden Street in Isfahan: The Safavid Urban Landscape in Its Global Context
Mohammad Gharipour, Morgan State University
ACS AA 7 4 S UMMER 2 0 1 4 2 6
The Bodhi Tree and the Orchid at CAA
February 15, 2014: Chicago
Knowledge, Spectacle, Pedagogy
Chair: Tamara Sears
Shangri La: The Archive-Museum and the Spatial Topologies of Islamic Art History
Sugata Ray
Placing the Spectator on the Scene of Conquest: Istanbuls Panorama 1453 History Museum
Radha Dalal
Absence of the Un-Exchangeable Monument: Cinema and National Identity in a Time of Partition
Aditi Chandra
Useful and Dangerous: Photography and the Madras School of Art, 18501873
Deepali Dewan
Shifting Objects, Geographies, Histories
Chair: Risha Lee
From Dictatorship to Democracy: Cordobas Islamic Monuments in the Twentieth Century
Jennifer Roberson
Assertive Gifts: Art and Diplomacy in the Age of the OttomanSafavid Conict
Sinem A. Casale
Mary on the Moon: Ivory Statuettes of the Virgin Mary from Goa and Sri Lanka
Marsha G. Olson
Temporal Transformations: Terracotta, Textile, Trash
Rebecca M. Brown
Materiality, Experience, & Collaboration
Chair: D. Fairchild Ruggles
The Global, The Local, The Contemporary, The Collaborative: Ghari/Ghar Pe/At Home, Dharavi, Mumbai,
2012
Atreyee Gupta
And in the Soup Kitchen Food Shall Be Cooked Twice Every Day: Gustatory Aspects of Ottoman Mosque
Complexes
Nina Ergin
Archiving Knowledge in Consecrated Earth: The Madrasa in the Marinid Chella
Riyaz Latif
Water in the Expanded Field: Art, Thought and Immersibility in the Yamuna River: 20052010
Venugopal Maddipati
ACS AA 7 4 S UMMER 2 0 1 4 2 7
The Bodhi Tree and the Orchid at CAA
February 15, 2014: Chicago
Patronage & Politics
Chair: Molly Aitken
A Mandir for the Masses or Apparatus of Imperial Authority? The Amba Mata Temple in Udaipur
Jennifer Joffee
Architecture of Enlightenment: The Colonial Colleges and Universities of Northern India
Hawon Ku
Form and Symbol: Mosque Architecture in Germany since 2000
Alisa Eimen
A Thoroughly Modern Major: Photography, Identity, and Politics at the Court of Hyderabad
Deborah Hutton
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Museum Exhibitions
Summer and Fall 2014
Arthur M. Sackler Gallery
THE TRAVELERS EYE: SCENES OF ASIA
November 22, 2014May 31, 2015
The Travelers Eye: Scenes of Asia provides glimpses of travels across the Asian continent, from pilgrimages
and research trips to expeditions for trade and tourism.
Asian Art Museum
ENTER THE MANDALA
March 14-October 26, 2014
In this exhibition, 14th-century paintings align a gallery with the cardinal directions, transforming open space
into an architectural mandalaa chance to experience the images in three dimensions, to dwell in the midst of
the cosmic symbols and be transported to another world.
GORGEOUS
June 20-September 14, 2014
Gorgeous presents 72 uniquely stunning artworks drawn from the collections of the Asian Art Museum and the
San Francisco Museum of Modern Art. Spanning over 2,200 years and dozens of cultures, these artworks are
organized in an attempt to shift the focus from historical and cultural contexts, emphasizing instead the unique
ways each work announces itself or solicits a viewers attention.
Cleveland Museum of Art
YOGA: THE ART OF TRANSFORMATION
June 22-September 7, 2014
The rst exhibition to present this leitmotif of Indian visual culture, it also examines the roles that yogis and
yoginis played in Indian society over two thousand years. This is the last venue for the exhibition, which was
organized by Deborah Diamond. Yoga was rst exhibited at the Arthur M. Sackler Gallery before traveling west
to the Asian Art Museum.
Fralin Museum of Art at the University of Virginia
REALMS OF EARTH AND SKY: INDIAN PAINTING FROM THE 15TH TO THE 19TH CENTURY
August 22-December 14, 2014
The exhibition will explore various themes, including the stylistic relationship between Mughal and Rajput
painting and the function of book illustration. Portraiture, religious and literary texts, and Ragamala paintings
are particularly well represented in the The Fralin collection of Indian painting.
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LACMA
PRINCELY TRADTIONS AND COURTLY PURSUITS
August 10, 2013- October 12, 2014
The exhibition explores a complex and fascinating visual history, and brings together rarely-seen artworks from
LACMAs South and Southeast Asian, Costume and Textiles, and European Painting and Sculpture Depart-
ments.
RITUAL OFFERINGS IN TIBETAN ART
September 8, 2014 September 8, 2015
This exhibition is dedicated to the late Ruth Hayward, the pioneer collector and principal donor of the Tibetan
furniture now in LACMAs collection. The exhibition features evocative works of art created for use during
esoteric ceremonies performed primarily to obtain mundane blessings, such as those to attain wealth or avert
calamities, or to overcome negative spiritual forces hindering enlightenment.
MET
LOST KINGDOMS: HINDU-BUDDHIST SCULPTURE OF EARLY SOUTHEAST
ASIA, 5TH TO 8TH CENTURY
April 14July 27, 2014
This is the rst international loan exhibition to explore the sculptural art produced in the earliest kingdoms of
Southeast Asia. From the rst millennium onward, powerful kingdoms emerged in the region, embracing much
of Indic culture to give political and religious expression to their identities.
MFA, Boston
PURE SOULS: THE JAIN PATH TO PERFECTION
August 9-Novemebr 30, 2014
This exhibition presents a group of Jain paintings that have rarely been shown at the MFAearly illustrated
manuscripts and newly restored cloth paintingsalongside embroidered book covers and select sculptures.
Together, these objects illuminate the potent sacred world of the Jain religion.
MFA, Houston
ARTS OF ISLAMIC LANDS: SELECTIONS FROM THE AL-SABAH COLLECTION, KUWAIT
Jan 26-Jan 4, 2015
This exhibition marks the rst in a renewable, ve-year agreement that enables the MFAH to present the glori-
ous achievement of Islamic visual culture in a comprehensive display. The legendary al-Sabah Collection was
founded by Sheikh Nasser Sabah al-Ahmed al-Sabah and his wife, Sheikha Hussah Sabah al-Salem al-Sabah.
The collection preserves and presents all aspects of Islamic art and comprises more than 30,000 pieces.
Museum Exhibitions
Summer and Fall 2014
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Nelson-Atkins Museum
REVEALING A HIDDEN TREASURE: A JAIN SHRINE FROM INDIA
June 20-May 31, 2015
Acquired in 1932, this ornately carved and painted shrine spent the next 70 years in storage at the Nelson-
Atkins. Before it could go on exhibition, conservators spent over a year cleaning, conserving and studying the
shrine.
Norton Simon Museum
IN THE LAND OF SNOW: BUDDHIST ART OF THE HIMALAYAS
March 28-August 25, 2014
In the Land of Snow is the Museums rst large-scale exhibition of Himalayan Buddhist art, bringing together
exceptional Indian, Nepalese and Tibetan Buddhist sculptures along with thangkas from throughout the Himala-
yan region.
Peabody Essex Museum
FIGURING THE ABSTRACT IN INDIAN ART
On view April 5, 2014 to May 31, 2015
This installation of 20th-century paintings and 15th- to 19th-century sculptures explores the concept of abstrac-
tion as a vehicle for embodying form and meaning. Moving beyond culture and across time, these works con-
sider style, structure and color, as well as the gurative, metaphorical and idealized as key facets of the abstract.
Rubin Museum
BODIES IN MOTION: THE ART OF TIBETAN MEDICINE
March 15-September 9, 2014
The rst major exhibition to present the origins, history and practice of a millennium of visual history, Bodies
in Balance explores the guiding principles of the Tibetan science of healing represented in medical paintings,
manuscripts, and medical instruments.
Museum Exhibitions
Summer and Fall 2014