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4 D e c em b e r 2 0 1 3
the journal of
the asian arts society
of australia
TAASA Review
INNER ASIA
c o n t en t s
Volume 22 No. 4 December 2013
3 Ed itor ial : I NN E R A S I A
TAA S A R E V I E W
4 TIBETAN BUDDHIST IMAGES: CULTURAL INTERACTION BETWEEN TIBET, EAST AND CENTRAL ASIA
Zhang Jianlin
11
Lyndon A. Arden-Wong
Qinghua Guo
16
EARLY CHRISTIANITY IN INNER ASIA: THE ARCHAEOLOGICAL AND ART HISTORICAL EVIDENCE
Ken Parry
Christopher Haskett
24
Russell Kelty
Christina Sumner
27
BOO K REVIEW: T HE S I LK R OA D
Jeffrey Riegel
The Asian Arts Society of Australia Inc., its staff, servants or agents.
No claim for loss or damage will be acknowledged by TAASA
Sandra Forbes
TAA S A M E M B E R S H I P RAT E S
$70
$90
$95
$35
a dvert i s i ng RAT E S
TAA S A c o mm i t t ee
E DITORIAL : I N N E R A S I A
G i ll Gr een Pr esident
TI B E TA N B U DD H I S T I M A G E S : C U LT U RAL I N T E RA C TIO N B E T W E E N TI B E T,
E A S T A N D C E N TRAL A S IA
Zhang Jianlin, based on his presentation translated by Adjunct Professor Daniel Kane
n the early 7th century, in the central
regions of the Tibet Plateau, the Sing-porje tribe expanded from its territory in the
Yarlung river valley, conquered other tribes
in central and south Tibet, and established
a centralised monarchy known as Tubo
or Tufan. Over the next two centuries, the
Tubo conquered the Zhangzhung, Supi and
Tuhuyun, in the north and the west, gradually
occupying a large area of Central Asia right
up to the borders of the Tang Empire.
TA A S A R E V I E W V O L U M E 2 2 N O. 4
Vairocana and four bodhisattvas in Buddha Hall, Randui village, in Mangkam county,
Tibet, end 8th or early 9th century. Photo: Zhang Jianlin
TA A S A R E V I E W V O L U M E 2 2 N O. 4
Vairocana with Avalokiteshvara and Padmapani, Zhao-alam cliff-face, Luoxu, Shiqu county, Sichuan, end 8th or early 9th century. Photo: Zhang Jianlin
TA A S A R E V I E W V O L U M E 2 2 N O. 4
S T U P A S A N D W I N E : T H E ARTI S TI C TRADITIO N S O F T H E K A S H G AR OA S I S
Angelo Andrea Di Castro
Qocho, Temple Y from North West,
from Grunwedel 1906, fig 43
Mori Tim Stupa A and B, Kashgar, 4th 5th century. Photo courtesy J. Gollings
TA A S A R E V I E W V O L U M E 2 2 N O. 4
Schist tray, Upal, Hephthalite period, 5th - 6th century CE. Source: Watt et al 2004
Chinese sources of the later Han period (25220 CE) talk of Kushan interference in the
political affairs of Kashgar (the ancient Shule,
as the Chinese called it). An Guo, the king of
Kashgar, sent his maternal uncle Chenpan
as a hostage to the Yuezhi (the Kushan
court). After a period spent in a Buddhist
monastery in Kapisha (possibly at Shotorak)
Chenpan eventually became the new king of
Kashgar. His contacts with Kushan elites and
Buddhist preceptors might have enabled a
swift diffusion of Buddhism in the Kashgar
oasis. Furthermore the economic surplus
generated by the commerce of the caravan
traders along the Silk Road might have helped
the development of Buddhist monastic
institutions in this strategic oasis.
One of the most famous Buddhist teachers
who translated many sutras from Sanskrit into
Bronze caldron from Upal c. 5th century BCE. Source:
Sheng Chunshou, Catalogue of the Xinjiang Uygur
Autonomous Region Museum, 2012
TA A S A R E V I E W V O L U M E 2 2 N O. 4
Vase with three handles and stamped decoration, Yawuluk c. 6th century CE. Source: Watt et al 2004
TA A S A R E V I E W V O L U M E 2 2 N O. 4
10
REFERENCES
Davis-Kimball, J. 1998. Tribal Interaction between the Early Iron
Age Nomads of the Southern Ural Steppes, Semirechiye, Xinjiang,
in V.H. Mair (ed.), The Bronze Age and Early Iron Age Peoples of
Eastern Central Asia, Vol. 1, Journal of the indo-European Studies
Monograph Number Twenty-Six in two volumes, Institute for the
Study of Man, The University of Pennsylvania Museum Publications,
Washington, Philadelphia, pp. 238-263.
Di Castro, A.A. 2008. The Mori Tim Stupa Complex in the
Kashgar Oasis, East and West, vol. 58, pp. 257-281
Franz, H. G. 1980. Stupa and Stupa-Temple in the Gandharan
Regions and in Central Asia, in A. Libera Dallapiccola & S.
Zingel-Av Lallemant (eds.), The Stupa. Its Religious, Historical
and Architectural Significance, Franz Steiner Verlag, Wiesbaden,
pp. 39-58.
Franz, H.G. (1984) The origins of the tower-temple in India, in
B. Allchin, R. Allchin and M. Sidell (eds.), South Asian Archaeology
1981, Cambridge University Press, Cambridge, pp. 280-88.
Ghose, M. 2003. The Impact of the Hun Invasions: A Nomadic
Interlude in Indian Art, Bulletin of the Asia Institute, N.S. Vol. 17,
pp. 145-158.
Hrtel, H. and Yaldiz, M. 1982. Along the Ancient Silk Routes:
Central Asian Art from the West Berlin State Museums, The
Metropolitan Museum of Art, New York.
Mallory, J.P. and Mair, V.H. 2000. The Tarim Mummies,
TA A S A R E V I E W V O L U M E 2 2 N O. 4
T R K A N D U I G H U R TA M G A - S Y M B OL S
Lyndon A. Arden-Wong
A section from the Tang Huiyao. Characters marked in red are the tamga horse brand symbols.
Note: 5th column from the right pertains to the Uighur horse brand tamga.
TA A S A R E V I E W V O L U M E 2 2 N O. 4
11
12
TA A S A R E V I E W V O L U M E 2 2 N O. 4
scribe tamga symbols from the Tes, Tariat and Shine-Usu stelae (ABOVE), Source: Klyashtorny 1985: 143 fig. 6.
(BELOW), A Roof tile from Por-Bajin with incised (tamga?) markings. Courtesy and copyright of the Por-Bajin Foundation
REFERENCES
owner. Additional tamga on the Tes, Tariat and
Shine-Usu inscriptions were noted below their
inscriptions (fig. 3 bottom row), which Osawa
posits are the tamga of the scribe and likens
the employment of these scribes (bitighchi) to
those of the Western Uighur Khaganate of the
Kocho Kingdom in the 10th-14th centuries.
Osawa furthermore sees a progression from
the use of tamga as clan/political symbols to a
sign indicating the writers identity a practice
that was later widely used on Western Uighur
contracts by way of a seal (Osawa 2010: 348-358).
The Karabalgasun Inscription (in runic, Sogdian
and Chinese) is the only verified stele of the
Adiz period of Uighur rule (795-840) and is
dated to the 820s. Unfortunately it is highly
fragmentary and many parts are lost. One side
of the headstone survives and contains runic
script within its title shield, but no tamga-signs
are present. Whether or not a tamga was present
in the shield of its opposite face is unknown.
Tamga inscribed on Uighur architectural
ceramics have been noted. An example of an
incised tamga motif on a roof tile from PorBajin displays a symbol not greatly different
from the tamga found on the early Yaglakar
scribes tamga (Klyashtorny 1985: 143 fig. 6).
Whether this tamga has a similar identifying
function remains to be seen, although
TA A S A R E V I E W V O L U M E 2 2 N O. 4
13
COLLAPSED ROOF TILES ON BUILDING 4-1, SHANGJING, BOHAI KINGDOM (698-926), SHOWING UNDISTURBED TILE POSITIONS. SOURCE: BOHAI SHANGJINGCHENG
14
TA A S A R E V I E W V O L U M E 2 2 N O. 4
REFERENCES
Archaeological Institute of China, 1996. Liuding Shang & Bohai
Zhen. Dabaike chubanshe, Beijing.
Glendinning, M. 1996. A Mid-Sixth-Century Tile Roof System at
Gordion. Hesperia 65, 99-119.
Harada Yoshito & Komai Kazuchika, 1939. Tung-Ching-Cheng: Report
on the Excavation of the Site of the Capital of Po-hai. Archaeologia
Orientalis Ser. A. Vol V. Far Eastern Archaeological Society.
Heilongjiang Provincial Archaeological Institute, 2009. Bohai
Shangjingcheng. Wenwu chubanshe, Beijing.
BACKROADS OF BURMA
11 November 30 November 2014
After many requests, TAASA contributor Dr Bob
Hudson has designed and brings personal and
professional insights to a journey into backwater
Burma at its most bucolic and diverse. After Yangon
we arrive in Pyay and explore nearby Sri Ksetra, the
rarely-visited ancient Pyu capital with its distinctive
conical Buddhist stupas. Visit market towns and river
ports such as Magwe (near historical Beikthano) and
Monywa (with its stunning Thanboddhay Shrine)
before cruising the dramatic defiles and upper reaches
of the Ayeyarwady, exploring little-visited Bhamo,
Katha, Taguang and others. Travellers who have
already visited Pyay may choose to join the program
after this segment and then travel with Dr Hudson to
Mrauk U after the main tour concludes in Yangon.
Land Only cost per person twinshare
ex Yangon $5800
To register your interest, reserve a place or for
further information contact Ray Boniface
H E R I TA G E D E S T I N AT I O N S
N AT U R E B U I L D I N G S P E O P L E T R AV E L L E R S
PO Box U237
University of Wollongong NSW 2500 Australia
p: +61 2 4228 3887 m: 0409 927 129
e: heritagedest@bigpond.com
ABN 21 071 079 859 Lic No TAG1747
SUGGESTED RECONSTRUCTION OF GORDION ROOF, PHRYGIA, 8TH CENTURY BCE BY M. GLENDINNING. SOURCE: HESPERIA 65, 1996
TA A S A R E V I E W V O L U M E 2 2 N O. 4
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16
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TA A S A R E V I E W V O L U M E 2 2 N O. 4
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GRAVESTONE, CROSS ON LOTUS WITH FLYING APSARAS, QUANZHOU, 14TH CENTURY. PHOTO, KEN PARRY
Zealand, 91-108.
Parry, K., 2012b. The Art of the Christian Remains at Quanzhou,
in S. Lieu, K. Parry et al, Medieval Christian and Manichaean
Remains from Quanzhou (Zayton). Corpus Fontium Manichaeorum.
Series Archaeologica et Iconographica 2. Brepols, Turnhout,
243-262.
Parry, K., 2006. The Art of the Church of the East in China, in R.
Malek (ed), Jingjiao: The Church of the East in China and Central
Asia. Institut Monumenta Serica, Sankt Augustin, 321-339.
Parry, K., 1996. Images in the Church of the East: The Evidence
from Central Asia and China, in J. F. Coakley and K. Parry (eds),
The Church of the East: Life and Thought. Special issue of the Bulletin
of the John Rylands University Library of Manchester 78, 3, 143-162.
Sachau, C. E., 1879. The Chronology of Ancient Nations: An
English Version of the Arabic Text of the Athar-ul-Bakiya of Alberuni.
W. H. Allen, London.
Department
of
Ancient
History
at
Macquarie
18
REFERENCES
Baum, W. and Winkler, D., 2003. The Church of the East:
A Concise History. Routledge, London.
TA A S A R E V I E W V O L U M E 2 2 N O. 4
The Way, a spiritual path 2005, Kim Hoa TRAM, Chinese b. 1959, Australia from 1984, ink on paper,
128.7 x 63.3cm (image and sheet), National Gallery of Victoria, Melbourne. Purchased with funds
from the Victorian Foundation for Living Australian Artists, 2005 Kim Hoa Tram
TA A S A R E V I E W V O L U M E 2 2 N O. 4
19
Landscape, WANG Gai (Chinese c.16771705), 17th century, album: ink and pigment on paper, 12 leaves, silk and cardboard,
glued concertina binding, 24.6 x 32.3 cm (image), National Gallery of Victoria, Melbourne, Gift of Kenneth Myer, 1976
20
TA A S A R E V I E W V O L U M E 2 2 N O. 4
Birds and flowers, HUANG Shen (Chinese 16871768), mid 18th century, album: ink and pigments on paper, ten leaves,
cardboard and silk cover, glued binding 23.3 x 33.3 cm (image and sheet), National Gallery of Victoria, Melbourne,
Presented through The Art Foundation of Victoria with assistance of the Estate of Miss G. S. Grimwade, Fellow, 1982
TA A S A R E V I E W V O L U M E 2 2 N O. 4
REFERENCES
Bush, Susan, 1971, The Chinese Literati on Painting, Su Shih (10371101) to Tung Chi-chang (1555-1636),Harvard-Yenching Institute
Studies XXVII, Harvard University Press, Cambridge, Massachusetts.
Cahill, James, 1964. `Confucian Elements in the Theory of
Painting, in Arthur F. Wright (ed.), Confucianism and Chinese
Civilization, Atheneum, New York, pp.77-102.
Coleman, Earle J., 1978. Philosophy of Painting by Shih Tao,
Mounton Publishers, The Hague.
21
A TI B E TA N T H A N G K A AT T H E N G A
Christopher Haskett
Thangka depicting a Lama, Tibet, 18th century, cotton, pigments, silk surround painting, 127.0cm (h) x 86.0cm (w).
National Gallery of Australia. In memory of Rear Admiral Sir Leighton Bracegirdle
22
TA A S A R E V I E W V O L U M E 2 2 N O. 4
TA A S A R E V I E W V O L U M E 2 2 N O. 4
REFERENCES
Jackson, David P. 2009, Patron and Painter: Situpa Panchen and the
Revival of the Encampment Style, Rubin Museum of Art, New York
Linrothe, Rob. 2004, Paradise and Plumage: Chinese Connections
in Tibetan Arhat Painting, Rubin Museum of Art, New York
Rhie, Marylin M. and Robert A.F. Thurman, 1996. Wisdom and
Compassion, Thames & Hudson London
Rhie, Marylin M. and Robert A.F. Thurman, 1999. Worlds of
Transformation. Tibet House, New York
23
S T A I R W A Y T O H E A V E N H I M ALA Y A N ART AT A G S A
Russell Kelty
ONAMATAPEA (2006), TIM JOHNSON, KARMA PHUNSTOK, BRENDAN SMITH, SYDNEY, SYNTHETIC POLYMER PAINT ON CANVAS,
183.0 X 61.5CM (EACH PANEL) , GIFT OF THE ART GALLERY OF SOUTH AUSTRALIA CONTEMPORARY COLLECTORS 2006;
WHITE TARA, EASTERN TIBET, MID-18TH CENTURY, WOOD, LACQUER, GOLD LEAF, SEMI-PRECIOUS STONES, 88.9 CM (H),
ELIZABETH AND TOM HUNTER FUND 1994
24
TA A S A R E V I E W V O L U M E 2 2 N O. 4
TA A S A R E V I E W V O L U M E 2 2 N O. 4
REFERENCES
Edgerton, Franklin and Eleanor, 1964. The Cloud Messenger:
translated from the Sanskrit Meghaduta, The University of Michigan
Press, Ann Arbor.
Lopez, Jr, Donald S, 1999. Prisoners of Shangri-La: Tibetan
Buddhism and the West, the University of Chicago Press, Chicago
and London.
Masters, H.G., 2010. Tradition Transformed: Tibetan Artists
Respond, Rubin Museum, New York.
Mullin, Glenn H., 2003. Female Buddhas: Women of Enlightenment
in Tibetan Mystical Art, Clear Light Publishers, New Mexico.
Pam, Max, 1992. Going east: Two decades of Asian photography,
Editions Marval, Paris.
25
I N T H E P U B LI C DO M AI N : A K H O T A N R U G A T T H E P O W E R H O U S E M U S E U M
Christina Sumner
RUG, KHOTAN, EAST TURKESTAN (NOW XINJIANG), 1920 1950, KNOTTED PILE, WOOL/COTTON.
COLLECTION: POWERHOUSE MUSEUM, SYDNEY. PHOTO: SOTHA BOURN
26
REFERENCES
Bidder, H. 1964. Carpets from Eastern Turkestan, London.
OBannon, G. Rugs of East Turkestan: Khotan, Yarkand or
Kadhgar? In Oriental Rug Review, II (6), 1991.
TA A S A R E V I E W V O L U M E 2 2 N O. 4
B OO K R E V I E W: T H E S I L K R O A D
Jeffrey Riegel
TA A S A R E V I E W V O L U M E 2 2 N O. 4
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TRA V E LL E R S C H OI C E : T H E M U S E U M O F A FR A S I A B , S A M A R K A N D
Sandra Forbes
AFRASIAB PAINTINGS, DETAIL OF AMBASSADORS IN ORNATE SILKEN ROBES, NORTHERN WALL.
SOGDIAN, 7TH CENTURY. MUSEUM OF AFRASIAB , SAMARKAND. ALL PHOTOS COURTESY JULIAN DROOGAN
28
TA A S A R E V I E W V O L U M E 2 2 N O. 4
AFRASIAB PAINTINGS, DETAIL OF PROCESSIONAL MURAL ON SOUTHERN WALL SHOWING CAMEL RIDERS (L)
AND SACRIFICIAL GEESE (R). SOGDIAN, MID-7TH CENTURY. MUSEUM OF AFRASIAB, SAMARKAND
TAA S A M E M B E R S DIAR Y
DECEMBER 2013 FEBRUARY 2014
Wednesday 4 December 2013 from 6-8 pm.
TAASA end-of-year party at the Korean
Cultural Office, Elizabeth Street, Sydney
(opposite Museum Station). There will be
Korean art and craft exhibits on show as
well as a short Korean performance.
Price including canapes and drinks $20
for members: $25 for guests.
For further information and booking
(essential) contact Ann Guild on
annguild@optusnet.com.au or (02) 9460 4579
TA A S A R E V I E W V O L U M E 2 2 N O. 4
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R E C E N T TAA S A A C TI V ITI E S
TAASA IN VICTORIA
PRIVATE MELBOURNE COLLECTION
VIEWING
3 October 2013
In early October a capacity group of TAASA
Victoria members and guests were privileged
to attend an exclusive viewing of a private
collection of Buddhist art of Tibet and
Mongolia. Our host was Boris Kaspiev who
assembled the group of more than 400 sacred
objects over the past 25 years, along with the
late Richard Price. The items range in age
from the 12th to 19th centuries and include
thangka (painted Buddhist hanging scrolls
with silk mounts), tsakli (miniature ritual
paintings), manuscript pages, textiles, bronze
and wooden sculpture and other ritual pieces
After generously treating us to a selection
of wines from his cellar, Boris led the group
through the various rooms of his inner-city
house where the collection is beautifully
displayed on almost all available walls and
surfaces. He spoke about some of the painted
objects, especially the intriguing tsakli,
and also focussed on some of the Tibetan
and Mongolian bronzes, each with their
characteristic styles. Some recent acquisitions
were also on view and several members
particularly enjoyed perusing Boris large
library of Asian art publications.
It was an enlightening and congenial evening
and all members fortunate enough to be there
appreciated the opportunity. Many thanks are
due to Boris Kaspiev for his hospitality and
for sharing his passion and knowledge, and
to Margot Yeomans and Ian Strachan for their
assistance in organising.
Susan Scollay
TAASA CERAMICS STUDY GROUP,
SYDNEY
Simplicity of chance: Japanese tea ceramics
12 October 2013
A ceramicist, a tea practitioner and a collector
shared their experiences and knowledge of the
Japanese tea ceremony with an enthusiastic
audience on 12 October at the College of Fine
Arts Sydney.
Paul Davis shared his experiences with the
Saka family from Hagi as an apprentice
moving up through the ranks in the family
30
Ann
MacArthur
spoke
about
her
experiences learning the tea ceremony
over a year spent at the Urasenke School,
a school which developed from the tea
ceremony as practiced along the principles
of Sen no Rikyu. She introduced the objects
used in order of their ranked importance
and high-lighted the aesthetic choices to be
made in selecting objects to be used for each
tea ceremony according to the season, the
guests and the occasion. Her presentation
illustrated that not only were Japanese
unpretentious vessels valued, but Chinese
and Korean vessels were also held in high
esteem.
John Freeland generously brought along a
collection of tea wares, mainly bowls, and
used a quotation from Yanagi Soetsu as the
basis of his finely crafted talk which was
illustrated by examples of those wares. His
approach focussed on the philosophical
underpinnings of tea wares made in Japan.
We all felt extremely fortunate to have heard
such thoughtful, entertaining and informative
presentations.
RUTH HADLOW: UNPACKING
MY SUITCASE, TEXTILE TALES
FROM WEST TIMOR
9 October 2013, COFA
TA A S A R E V I E W V O L U M E 2 2 N O. 4
W H AT S O N I N A U S TRALIA : D E C E M B E R 2 0 1 3 - F E BR U A R Y 2 0 1 4
A SELECTIVE ROUNDUP OF EXHIBITIONS AND EVENTS
Compiled by Tina Burge
ACT
QUEENSLAND
VICTORIA
Di Castro
TA A S A R E V I E W V O L U M E 2 2 N O. 4
Melbourne
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