The Norwegian explorer Thor Heyerdahl, never one to shrink from a challenge, visited Gobustan in Azerbaijan for two decades to prove his theory that the ancestors of today’s Scandinavians left behind the mysterious rock carvings near Baku. Uncanny similarities between petroglyphs showing the long, oared boats of Caspian seafarers and those of the Vikings, and between other rock carvings in both Azerbaijan and Norway tantalized Heyerdahl.
Art history
Even the idlest stroller will be awestruck by the beauty of Cairo’s City of the Dead. Yet this gem of 14th and 15th century architecture, a Unesco World Heritage site, leaves the visitor wondering about the sultans, beys and princesses for whom these elaborate monuments were built. Stones can tell stories, but objects bring the past to life. The Louvre Abu Dhabi’s exhibition, with over 250 pieces, aims to provide a fuller sense of these patrons, the Mamluks: who were they and how did they see themselves?
Chinese bronzes produced from the latter part of the Song dynasty (12th-13th century) through the end of the Qing dynasty (early 20th century) have long been underappreciated and under-researched. The Metropolitan Museum of Art’s fine catalogue, Recasting the Past: The Art of Chinese Bronzes, 1100-1900 (accompanying the exhibition of the same name running through September 2025), authored by the exhibition’s curator Pengliang Lu, goes a long way to changing this situation.
Bali 1952: Through the Lens of Liu Kang documents a seven-week trip to Java and Bali in 1952 by four China-born and Shanghai-trained Singapore artists—Chen Wen Hsi, Chen Chong Swee, Cheong Soo Pieng and Liu Kang—to sketch and paint tropical beauty.
Ancient India is a new publication and exhibition by the British Museum that explores the shared origins of Hindu, Buddhist and Jain devotional art in figurative imagery of India’s ancient nature spirits. These three of the world’s major religions originated in India and gradually spread to other regions of the world. Between 200 BCE and 600 BCE, representations of their deities and enlightened teachers underwent transformation from symbolic to human form.
In its 1911 inaugural issue, the Women’s Eastern Times (Funü shibao) printed a composite photograph of embroiderer Shen Shou (1874–1921) together with her work—an embroidered portrait of the Italian queen Elena of Montenegro (1871–1952). A caption slip pasted onto the embroidery states: “Commendation from the Empress Dowager to bestow [upon her] the character ‘Shou’ [longevity] by imperial decree / [This is an] embroidery work by Yu-Shen Shou, the imperially appointed principal instructor of the Embroidery Program for Women at the Ministry of agriculture, Industry and Commerce”.
Japanese painters, printmakers, and sculptors who produced artwork in support of Tokyo’s war efforts in the period between 1931 and 1945, had to pivot as they continued their careers in the shadow of empire during the seven-year US occupation occupation, which began with Japan’s defeat in 1945 and ended in 1952 under a Cold War peace treaty.
A forgery can be a laborious undertaking, requiring resources, labor, and knowledge. A literary forgery or hoax is categorically different from thoughtlessly plagiarized text. Indeed, if a plagiarized work steals the words and ideas of others, a forged work studiously invents words and ideas while misattributing authorship. Both plagiarism and forgery are deceptive, but forgery creates even as it deceives. It is generative. In The Forger’s Creed: Reinventing Art History in Early Modern China, JP Park shows how a 17th-century painting catalogue recording details of a non-existent collection generated further forgeries and misattributions and bolstered apocryphal art historical lineages. The history of Chinese art, Park argues, was never the same.
Most people “collect” stuff, but Paul Bromberg is a “collector”, the difference being that he proceeds with intent and purpose, focusing on a relatively narrow group of objects.
The word miniature in fact comes from the Larin miniare or “to paint red”; early European miniatures—palm sized pieces that are parts of manuscripts and books facing a verse or an intense moment in a story or placed behind one—were initially delineated in that pigment. There was an Asian tradition of such painting as well, with Indian examples including illustrations in such texts such as the 12th-century Gita Govinda and 15th-century Rasa Manjari (15th century), as well as a great many Mughal examples.
You must be logged in to post a comment.