Examining the star power of this particular lineage of Kabuki actors, which spans well over 300 y... more Examining the star power of this particular lineage of Kabuki actors, which spans well over 300 years, managed to evolve and adapt to changing times and governments, and continues to be recognized and appreciated today.
In 1867, the last shogun Tokugawa Yoshinobu (1837-1913) decided to return governing authority to ... more In 1867, the last shogun Tokugawa Yoshinobu (1837-1913) decided to return governing authority to the Emperor (Taisei Hokan 大政奉還) and officially resigned in order to ‘restore’ power to the young emperor. The government of the Meiji Restoration revoked the ban on depictions of contemporary (political) figures. Artists such as Kobayashi Kiyochika (1847-1915) and Toyohara Chikanobu (1838-1912), former retainers who had fought on the side of the Tokugawa regime, sought new methods to honour the former regime and “memory and commemoration” became their way to create positive perceptions of Tokugawa rule. The forced retreat from politics, allowed the former shogun time to devote to scholarly pastimes such as poetry, painting and calligraphy, and he became a keen amateur photographer. In 1902, the Meiji Emperor allowed Yoshinobu to re-establish his own house as a Tokugawa branch with the highest rank in the peerage, that of prince (kōshaku), and he took a seat in the House of Peers. A scroll painting (kakemono) of Mt. Fuji in the collection of the Art Gallery of Greater Victoria has been attributed to Tokugawa Yoshinobu. It was given to Dr. E. Crummy, a Canadian missionary, at his departure from Japan in 1896. Arts of Asia, Spring 2022, pp 64-77
The authors survey Japanese printmaking since the 6th century, noting its commercial origins, its... more The authors survey Japanese printmaking since the 6th century, noting its commercial origins, its depiction of everyday life, and its influence on European art of the 19th century. 46 bibl. ref.
September-October issue of Arts of Asia, Vol. 50 issue 5, pp. 81-97
One of the legendary collecti... more September-October issue of Arts of Asia, Vol. 50 issue 5, pp. 81-97 One of the legendary collections of Chinese ceramics in the Middle East was assembled by Shah ‘Abbas (1588−1629), who subsequently endowed it to the Sufi shrine of Sheikh Safi al-din Ishaq in Ardebil, north-west Iran, some 50 km west of the Caspian Sea and at a distance of 900 km from his new capital, Isfahan. This article examines questions such as: How and when did these ceramics arrive in Persia (Iran), why did they end up in the Ardebil shrine and, perhaps more importantly, what happened to them and where can we see them now? Between 2015 and 2018 the author made several trips to Iran to examine the ceramics on display in Ardebil, Tabriz and in Tehran.
Correspondence section of Arts of Asia, p 12
Recently, the Museum of Islamic Art (MIA) in Doha, Q... more Correspondence section of Arts of Asia, p 12 Recently, the Museum of Islamic Art (MIA) in Doha, Qatar presented the exhibit Set in Stone: Gems and Jewels of Royal Indian courts. Among the many magnificent gems and jewellery on display was an exquisite 17th century Mughal period jade covered flask adorned with precious stones. Besides its intrinsic beauty as one of the greatest surviving pieces of early 17th century Mughal craftsmanship dating to the rule of the fourth Mughal emperor Jahangir (r.1605-1627), this particular object was identified as having been owned by “Clive of India” adding another layer of interest. This begs the question: who was Clive of India and more importantly, how did this piece end up in Qatar. Robert Clive (1725-1774) was employed by the British East India Company. His victory over the army of Siraj ad-Dowla, Nawab of Bengal, at Palashi (anglicised as Plassey), on the Hooghly River in West Bengal in 1757 paved the way to the British subjugation of the subcontinent.
Examining the star power of this particular lineage of Kabuki actors, which spans well over 300 y... more Examining the star power of this particular lineage of Kabuki actors, which spans well over 300 years, managed to evolve and adapt to changing times and governments, and continues to be recognized and appreciated today.
In 1867, the last shogun Tokugawa Yoshinobu (1837-1913) decided to return governing authority to ... more In 1867, the last shogun Tokugawa Yoshinobu (1837-1913) decided to return governing authority to the Emperor (Taisei Hokan 大政奉還) and officially resigned in order to ‘restore’ power to the young emperor. The government of the Meiji Restoration revoked the ban on depictions of contemporary (political) figures. Artists such as Kobayashi Kiyochika (1847-1915) and Toyohara Chikanobu (1838-1912), former retainers who had fought on the side of the Tokugawa regime, sought new methods to honour the former regime and “memory and commemoration” became their way to create positive perceptions of Tokugawa rule. The forced retreat from politics, allowed the former shogun time to devote to scholarly pastimes such as poetry, painting and calligraphy, and he became a keen amateur photographer. In 1902, the Meiji Emperor allowed Yoshinobu to re-establish his own house as a Tokugawa branch with the highest rank in the peerage, that of prince (kōshaku), and he took a seat in the House of Peers. A scroll painting (kakemono) of Mt. Fuji in the collection of the Art Gallery of Greater Victoria has been attributed to Tokugawa Yoshinobu. It was given to Dr. E. Crummy, a Canadian missionary, at his departure from Japan in 1896. Arts of Asia, Spring 2022, pp 64-77
The authors survey Japanese printmaking since the 6th century, noting its commercial origins, its... more The authors survey Japanese printmaking since the 6th century, noting its commercial origins, its depiction of everyday life, and its influence on European art of the 19th century. 46 bibl. ref.
September-October issue of Arts of Asia, Vol. 50 issue 5, pp. 81-97
One of the legendary collecti... more September-October issue of Arts of Asia, Vol. 50 issue 5, pp. 81-97 One of the legendary collections of Chinese ceramics in the Middle East was assembled by Shah ‘Abbas (1588−1629), who subsequently endowed it to the Sufi shrine of Sheikh Safi al-din Ishaq in Ardebil, north-west Iran, some 50 km west of the Caspian Sea and at a distance of 900 km from his new capital, Isfahan. This article examines questions such as: How and when did these ceramics arrive in Persia (Iran), why did they end up in the Ardebil shrine and, perhaps more importantly, what happened to them and where can we see them now? Between 2015 and 2018 the author made several trips to Iran to examine the ceramics on display in Ardebil, Tabriz and in Tehran.
Correspondence section of Arts of Asia, p 12
Recently, the Museum of Islamic Art (MIA) in Doha, Q... more Correspondence section of Arts of Asia, p 12 Recently, the Museum of Islamic Art (MIA) in Doha, Qatar presented the exhibit Set in Stone: Gems and Jewels of Royal Indian courts. Among the many magnificent gems and jewellery on display was an exquisite 17th century Mughal period jade covered flask adorned with precious stones. Besides its intrinsic beauty as one of the greatest surviving pieces of early 17th century Mughal craftsmanship dating to the rule of the fourth Mughal emperor Jahangir (r.1605-1627), this particular object was identified as having been owned by “Clive of India” adding another layer of interest. This begs the question: who was Clive of India and more importantly, how did this piece end up in Qatar. Robert Clive (1725-1774) was employed by the British East India Company. His victory over the army of Siraj ad-Dowla, Nawab of Bengal, at Palashi (anglicised as Plassey), on the Hooghly River in West Bengal in 1757 paved the way to the British subjugation of the subcontinent.
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The forced retreat from politics, allowed the former shogun time to devote to scholarly pastimes such as poetry, painting and calligraphy, and he became a keen amateur photographer. In 1902, the Meiji Emperor allowed Yoshinobu to re-establish his own house as a Tokugawa branch with the highest rank in the peerage, that of prince (kōshaku), and he took a seat in the House of Peers. A scroll painting (kakemono) of Mt. Fuji in the collection of the Art Gallery of Greater Victoria has been attributed to Tokugawa Yoshinobu. It was given to Dr. E. Crummy, a Canadian missionary, at his departure from Japan in 1896.
Arts of Asia, Spring 2022, pp 64-77
One of the legendary collections of Chinese ceramics in the Middle East was assembled by Shah ‘Abbas (1588−1629), who subsequently endowed it to the Sufi shrine of Sheikh Safi al-din Ishaq in Ardebil, north-west Iran, some 50 km west of the Caspian Sea and at a distance of 900 km from his new capital, Isfahan. This article examines questions such as: How and when did these ceramics arrive in Persia (Iran), why did they end up in the Ardebil shrine and, perhaps more importantly, what happened to them and where can we see them now?
Between 2015 and 2018 the author made several trips to Iran to examine the ceramics on display in Ardebil, Tabriz and in Tehran.
Recently, the Museum of Islamic Art (MIA) in Doha, Qatar presented the exhibit Set in Stone: Gems and Jewels of Royal Indian courts. Among the many magnificent gems and jewellery on display was an exquisite 17th century Mughal period jade covered flask adorned with precious stones.
Besides its intrinsic beauty as one of the greatest surviving pieces of early 17th century Mughal craftsmanship dating to the rule of the fourth Mughal emperor Jahangir (r.1605-1627), this particular object was identified as having been owned by “Clive of India” adding another layer of interest. This begs the question: who was Clive of India and more importantly, how did this piece end up in Qatar.
Robert Clive (1725-1774) was employed by the British East India Company. His victory over the army of Siraj ad-Dowla, Nawab of Bengal, at Palashi (anglicised as Plassey), on the Hooghly River in West Bengal in 1757 paved the way to the British subjugation of the subcontinent.
The forced retreat from politics, allowed the former shogun time to devote to scholarly pastimes such as poetry, painting and calligraphy, and he became a keen amateur photographer. In 1902, the Meiji Emperor allowed Yoshinobu to re-establish his own house as a Tokugawa branch with the highest rank in the peerage, that of prince (kōshaku), and he took a seat in the House of Peers. A scroll painting (kakemono) of Mt. Fuji in the collection of the Art Gallery of Greater Victoria has been attributed to Tokugawa Yoshinobu. It was given to Dr. E. Crummy, a Canadian missionary, at his departure from Japan in 1896.
Arts of Asia, Spring 2022, pp 64-77
One of the legendary collections of Chinese ceramics in the Middle East was assembled by Shah ‘Abbas (1588−1629), who subsequently endowed it to the Sufi shrine of Sheikh Safi al-din Ishaq in Ardebil, north-west Iran, some 50 km west of the Caspian Sea and at a distance of 900 km from his new capital, Isfahan. This article examines questions such as: How and when did these ceramics arrive in Persia (Iran), why did they end up in the Ardebil shrine and, perhaps more importantly, what happened to them and where can we see them now?
Between 2015 and 2018 the author made several trips to Iran to examine the ceramics on display in Ardebil, Tabriz and in Tehran.
Recently, the Museum of Islamic Art (MIA) in Doha, Qatar presented the exhibit Set in Stone: Gems and Jewels of Royal Indian courts. Among the many magnificent gems and jewellery on display was an exquisite 17th century Mughal period jade covered flask adorned with precious stones.
Besides its intrinsic beauty as one of the greatest surviving pieces of early 17th century Mughal craftsmanship dating to the rule of the fourth Mughal emperor Jahangir (r.1605-1627), this particular object was identified as having been owned by “Clive of India” adding another layer of interest. This begs the question: who was Clive of India and more importantly, how did this piece end up in Qatar.
Robert Clive (1725-1774) was employed by the British East India Company. His victory over the army of Siraj ad-Dowla, Nawab of Bengal, at Palashi (anglicised as Plassey), on the Hooghly River in West Bengal in 1757 paved the way to the British subjugation of the subcontinent.