Her research interests focus on Chinese pictorial arts, especially of the Song through Ming dynasties and the contemporary era, and include women as artists and patrons, the construction of gender, text-image relationships, and theories of representation. She has traveled throughout mainland China and studied Chinese art, language, and calligraphy in Taipei.
She has also worked in the Department of Islamic Art at the Metropolitan Museum of Art, New York, and her research has embraced architecture, archaeology, painting, textiles, and trade. Publications include essays in several books about the Deccan and in the catalogue The Interwoven Globe: Worldwide Textile Trade, Rating details.
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She has traveled throughout mainland China and studied Chinese art, language, and calligraphy in Taipei. Not that an author's membership in either of those is a requirement. Zipping through our advance desk copies, we are immediately impressed by the canonical works discussed and illustrated but also by the inclusion of modern and even contemporary art of Asia…and of the Diaspora, too! So we approve the new Asian Art textbook and draft it into immediate service.
All seems right with the semester. Where is the ornate and iconographically complex Pala art of Bengal-Bihar that extended Buddhist India's reach deep into the eastern tropics, the snowy Himalayas, and into the second millennium? In a forgiving mood, we shake off the foreboding and barrel ahead.
But finally, the magnitude of the omission becomes clear when we try to cross from India into neighboring Tibet and Nepal. Bengal and Bihar are the bridge to the Himalayas and the bridge is out!
And Himalayan art itself? How is IT treated in this feverishly awaited volume? Tibet is nowhere to be found; not in the illustrations! For this massive subject of Buddhist and Bon art, there is no chapter at all. And when we search the Index desperately, like dying climbers on the shoulders of Mt.
Kailash, for even honorary mentions of what is arguably the richest iconographic tradition in Buddhist Asia we find almost nothing. Nepal had a single entry. Bhutan too, one. Tibet is mentioned four times, once for its language, once for it geographical location as part of China , once for the fact that Mongolian invaders of China practiced the Shakya Sa skya branch of Tibetan Buddhism, and once, bizarrely, for an 8th century polo match that it lost to China. The fact that in that same century a Buddhist debate was held at Samye Monastery in Tibet to determine which branch of Buddhism Tibet would adopt once and for all and that the Indian debaters handed the Chinese debaters their collective butt, before the Tibetan king handed them their proverbial hats thenceforth adopting Indian Buddhism for his country is not mentioned…even though it is a far more germane topic to the development of Asian art and culture than polo Awestruck by the brazen Bengali-Himalayan omission we are left to fend for ourselves when teaching the essential topic of Himalayan art.
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