Orientations Magazine

Orientations Magazine An authoritative source on Asian art with stories of amazing places & incredible art collections.

Our articles are written by the world's foremost scholars in their field and every issue also includes market news and developments.

The second leaf zooms in on the temple and serves as a continuation of the previous scene. Servants have arranged the ox...
20/12/2024

The second leaf zooms in on the temple and serves as a continuation of the previous scene. Servants have arranged the oxen on a table, in front of which is another offering table bearing ritual vessels in bronze and gold. Both surfaces
present these offerings before a niche containing a spirit tablet. The tablet, partially visible as a tall white slab on a finely decorated gilded stand, is the home of the roaming spirit of the royal ancestor, who is to receive reverence from his offspring. In front of the arrangement stands a bowing man—presumably King Wu of Zhou (r. c. 1046–43 BCE), the son of King Wen (r. c. 1100–1050 BCE)—paying homage to his
father’s virtues. King Wu demonstrates filial piety by ‘preserve[ing]’ the tradition and being ‘devoted’ to his forebears, and thus receives ‘The Heavenly Mandate’, as the title of the second poem in the ‘Eulogies of Zhou’ suggests.

Read more in Ricarda Brosch and Junyao He's article "Accidental Acquisition:
Three Newly Discovered Album Leaves from the Eulogies of Zhou at the Victoria & Albert Museum" in the current issue.

Images:
1. Second leaf of the Eulogies of Zhou album
Painting by Lu Zhan (act. c. 1733–56); Qing dynasty, 18th century
Calligraphy by Wu Shouchang (act. 1759–90);
Qing dynasty, after 1769
Ink and colour on silk; 15.5 x 16.2cm (one album page); 15.5. x 32.5cm (both pages)
Victoria & Albert Museum, London
2. Third leaf of the Eulogies of Zhou album
Painting by Lu Zhan (act. c. 1733–56); Qing dynasty, 18th century
Calligraphy by Wu Shouchang (act. 1759–90); Qing dynasty, after 1769
Ink and colour on silk; 15.5 x 16.2cm (one album page); 15.5. x 32.5cm (both pages)
Victoria & Albert Museum, London

The public art in Rachana created a cultural space where modern sculptures were introduced on a scale that was never sho...
18/12/2024

The public art in Rachana created a cultural space where modern sculptures were introduced on a scale that was never shown before in Lebanon. It is naturally and organically growing in Rachana and reflects the Basbous spirit of positivity and genuinity establishing themselves as pioneering of modern art, where traditional museum looks more studied and structured to preserve the artworks and to link the dots with other works creating a universal language. Alfred organised the first symposium in the region from 1994–2005 to foster a workshop for international artists and to showcase works alongside the work of the Basbous family. He dedicated a lot of energy and time supporting the idea to build a modern art museum in Lebanon but such an enormous project needed the support of large institutions and the government; the situation in Lebanon at that time made this idea impossible.

Read the full article, "Interview with Fadi Basbous of the Alfred Basbous Foundation" in the current issue.

Images:
Image 1:
Composition, 1989
By Alfred Basbous (1924–2006)
Bronze; 200 x 39 x 10 cm and 170 x 39 x 10 cm

Image 2:
Femme Assise, 1990, in situ at the Foundation
By Alfred Basbous (1924–2006)
Concrete painted in white; 217 x 140 x 90 cm

In 1577 the Ottoman astronomer Taqī al‐Dīn (1526–85), with the help of more than a dozen astronomers, established the Is...
13/12/2024

In 1577 the Ottoman astronomer Taqī al‐Dīn (1526–85), with the help of more than a dozen astronomers, established the Istanbul Observatory under the patronage of Murad III (r. 1574–95), the Sultan of the Ottoman Empire. In this first Ottoman observatory, large astronomical instruments, teaching tools, and even mechanical
clocks were used both for observation and education. It was the year that the Great Comet of 1577 appeared, and Taqī al‐Dīn made its observation an urgent task of the observatory. The comet, with a head as bright as Venus and a tail forty times bigger
than the size of the full moon, was seen for about fifty nights. Comets were usually viewed as portents of bad luck, and although Taqī al‐Dīn predicted that this comet would be a sign of good fortune and triumph in the battle against the Persians, his
prediction did not come true. A dreadful plague spread through the region, causing widespread death, including the deaths of several dignitaries. The Sultan lost trust in the observatory and its chief astronomer, leading to the demolition of the observatory. It was the last observatory in the Middle East in the pre-modern era.

Read more in Tofigh Heidarzadeh's article "Middle Eastern Astronomy and Cosmology" in the current issue of Orientations.

Images:
1. ‘Taqī al-Dīn Muhammad ibn Ma’ruf in his observatory in Istanbul’, illustrated folio from A’lā al-Dīn Mansūr Shīrazī’s Shahan-shāh nāmeh (Book of the King of Kings), Ottoman, c. 1577
Istanbul University Library
Photo: Public Domain via Wikipedia Commons

2. Nasīr al-Dīn Tūsī and four colleagues at the newly e stablished
13th century Marāgha Observatory, from a 1562–63 illustration
at the British Library archive ('Tevarih-i guzide', Or. 3222, f.105)
Photo: British Library Board

Although some celestial objects are mentioned in the sacred texts of Abrahamic religions and other Middle Eastern faiths...
11/12/2024

Although some celestial objects are mentioned in the sacred texts of Abrahamic religions and other Middle Eastern faiths, a clear depiction of the configuration of celestial bodies—from the moon to the fixed stars—is not found in these original sources. However, with the introduction of Greek cosmology, the Aristotelian cosmic hierarchy became part of common knowledge and was adopted by religious authorities. To this adopted cosmology, they added religious concepts such as angels and in some cases hell and paradise, which were absent in Aristotle’s framework.

In the Aristotelian geocentric model of the universe, all celestial motions are uniform and circular. However, the motions of five planets, the moon, and the sun are not. This is due to the simple fact that the planets move around the sun on elliptical orbits, and their distance and speed changes continuously. Greek astronomers, unaware of the elliptical motions, developed complicated models to produce the observed non-uniform motions of these celestial objects by combining various uniform circular motions.

Read more in Tofigh Heidarzadeh's article "Middle Eastern Astronomy and Cosmology" in our current issue.

Image:
Celestial map from the Zubdat-al Tawārikh (The Extract of Histories) dedicated to Sultan Murad III (r. 1574–95) in 1583
Photo: Public Domain via Wikimedia Commons

The taste for splendour and flamboyance also stimulated technical and artistic advances in Chu, where sophisticated form...
06/12/2024

The taste for splendour and flamboyance also stimulated technical and artistic advances in Chu, where sophisticated forms, new materials, elaborate patterns, and original designs marked a pinnacle of art and design in early China. Eye-catching
embellishments—especially dense, serpentine configurations and animal-shaped appendages— bring an extreme level of refinement to their works in bronze. These metalworks often feature gleaming surfaces achieved by inlaying gold, silver, copper, and precious stones. Some objects are covered with gold or silver foil; others are painted or gilded to create a luxurious and glamourous look. The best example is a large bronze drum stand, which consists of eight large dragons and numerous small ones that are soldered together and decorated with inlays of turquoise and jade (image 1). It exemplifies the aristocratic predilection for meticulous ornamentation and the showy taste of the time.

Read more in Fan Jeremy Zhang's article "Phoenix Rhapsody: The Art of Ancient Zeng and Chu States" in our current issue: https://www.orientations.com.hk/past-issues/p/novdec-2024

Images:
1. Bronze drum stand from the tomb of Marquis Yi of Zeng
China, Hubei Province (Suizhou); Zeng state, c. 1040–400 BCE, c. 433 BCE
Bronze; height 54 cm, diameter 80 cm
Hubei Provincial Museum
2. Cosmetics box with a procession scene from Baoshan Chu tomb no. 2
China, Hubei Province (Jingmen); Chu state,
c. 1030–223 BCE, c. 316 BCE
Lacquer on fabric and wood; height 10.8 cm, diameter 28 cm
Hubei Provincial Museum

05/12/2024

In 2025, Orientations will be moving to a new pricing structure for subscriptions. This is to account for differing shipping costs according to geographical zones. There will be two geographical zones, Zone I (Asian countries - listed below) and Zone II (the rest of the world).

The new pricing will come into effect on 1 January 2025. Therefore, all renewals lodged before 31 December 2024 will follow current prices.

The cost of single-issue orders will remain at US$35 per copy while digital subscription rates stay at US$59.99/year.

For a full breakdown of prices from 2025 onwards, click the link below:
https://www.orientations.com.hk/highlights/an-update-on-subscription-rates

Although the excavations of Chu tombs had started in the early 1930s, the majority of aristocratic tombs found in Hubei ...
04/12/2024

Although the excavations of Chu tombs had started in the early 1930s, the majority of aristocratic tombs found in Hubei were unearthed since the 1960s. The Jiangling region has generated amazing discoveries of well-preserved lacquer and silk works,
because the Chu capital, Ying, remained there for about four centuries (7th century to 278 BCE). This exhibition features important discoveries from the Jiuliandun tombs in Zaoyang, which belonged to a Chu noble couple who had their fiefdom there. A wooden drum with a pedestal design of phoenixes on tigers’ backs exemplifies the most notable characteristics of Chu art and music—creativity, fantasy, and romantism. The recently uncovered wealth of material from Jingzhou also reflects a distinctive cultural identity among the Chu elites, who tapped an unrestrained imagination and mythical beauty in their art.

Read more in Fan Jeremy Zhang's article "Phoenix Rhapsody: The Art of Ancient Zeng and Chu States" in the current issue: https://www.orientations.com.hk/past-issues/p/novdec-2024

Images:
1. Standing drum with pedestal in the shape of phoenixes on tigers’ backs from Jiuliandun Chu tomb no. 2
China, Hubei Province (Zaoyang); Chu state, c. 1030–223 BCE, c. 300 BCE
Lacquer on wood; height 136 cm, width 134 cm
Hubei Provincial Museum

2. Funerary robe (back) from Mashan Chu tomb no. 1
China, Hubei Province (Jingzhou); Chu state, c. 1030–223 BCE, c. 300 BCE
Embroidered silk; height 52 cm, width 45.5 cm
Hubei Provincial Museum

On gold-painted paper, the constellations are connected by thin, straight lines and coloured either red, blue, or yellow...
29/11/2024

On gold-painted paper, the constellations are connected by thin, straight lines and coloured either red, blue, or yellow according to traditional attributions. The traditional Chinese projection presented is equatorial-polar, that of terrestrial longitude and latitude. There are three circles or rings required to plot the relative positions of celestial bodies, the horizon, the 赤道jeokdo (celestial equator, literally 'red road’; C. chidao) and the ecliptic 黃道hwangdo (apparent path of the sun against the stars K., literally ‘yellow road’; C. huangdao). Thus, the equator is shown as a complete red circle within the planisphere, while the ecliptic is a complete yellow circle intersecting it, also within the planisphere. The black inner circle is the line of constant visibility as seen from the northern hemisphere; note the constellation Ursa Major in the bottom left. The curved course of the Milky Way is also demarcated, along with the radial lines from the center that divide the regions of the night sky into the twenty-eight 宿su (lunar mansions; C. xiu): the stars in front of which the moon appears to rest in during its roughly twenty-eight-day cycle (a sidereal month).

Read more in Richard A. Pegg's article "A Korean Star Chart Screen from the Mid-18th Century" in our current issue.

Images:
Improved methods star charts (detail)
Korea; Joseon dynasty (1392–1910), c. 1757
Eight-panel screen, ink, gold, and colour on paper; 230 x 440 cm
Whipple Museum of the History of Science,
University of Cambridge, England

Your monthly guide to must-see exhibitions and events worldwide across Asian and Middle Eastern arts.* "Asia Pacific Tri...
28/11/2024

Your monthly guide to must-see exhibitions and events worldwide across Asian and Middle Eastern arts.

* "Asia Pacific Triennial 11", Queensland Art Gallery | Gallery of Modern Art (Brisbane), Nov 30, 2024 - April 27, 2025
* "Zodiac Netsuke", Chester Beatty (Dublin), Dec 6, 2024 - Mar 23, 2025
* "Kazakhstan, Treasures of the Great Steppe,” Guimet Museum (Paris), Nov 6, 2024 - Mar 24, 2025
* "Sculpted Celadon of the Goryeo Dynasty,” National Museum of Korea (Seoul), Nov 26, 2024 - Mar 3, 2025
* "From the Divine to the Mortal: Storytelling in Chinese Painting", Minneapolis Institute of Art (Minneapolis), Oct 26, 2024 - Oct 19, 2025
* "Too Loud a Solitude: A Century of Pathfinding for Eastern Gouache Painting in Taiwan”, Taipei Fine Arts Museum (Taipei), Dec 10, 2024 - Feb 2, 2025
* "Yayoi Kusama", National Gallery of Victoria (Melbourne), Dec 15, 2024 - Apr 21, 2025
* “PAN Amsterdam 2024”, Amsterdam 24 Nov- 1 Dec 2024

Taejo’s original stele was badly damaged over time but remained an important symbol of Joseon dynastic statecraft and le...
27/11/2024

Taejo’s original stele was badly damaged over time but remained an important symbol of Joseon dynastic statecraft and legitimacy, and as such it was re-carved several times. One such re-carving was done during the reign of King Sukchong (r. 1674–1720) in 1687. Numerous rubbings have been made from that 1687 stele, including one found today in the MacLean Collection.

The central planisphere of the stele and its copies is surrounded by numerous texts on celestial mechanics. The binomial term of 分野punya (C. fenye) in the title places it in the context of a long tradition of star charts used for prognostication in the courts of China and Korea. This term is translated as ‘allocated fields’, also known as星野 seongya (astral fields; C. xingye), and refers to historical systems begun in China’s Spring and Autumn period (770–481 BCE) to present in-depth astronomical information that was gathered and correlated into datasets to be interpreted by individuals with a specialized astrological knowledge base.

Read more in Richard A. Pegg's article "A Korean Star Chart Screen from the Mid-18th Century" in our current issue.

Images:
1. Positions of the heavenly bodies in their natural order and their allocated fields
Korea; Joseon dynasty (1392–1910); 1687
Stele copied after original 1395 stele, rubbing (ink on paper); 83 x 157 cm
MacLean Collection, MC39548

2. General maps of the stars relative to the ecliptic
Ignatius Kögler, also known as Dai Jinxian (1680–1746); China, Qing dynasty, 1723
Book (ink on paper)
Private collection

The form of Vishnu directly associated with conveying cosmological themes is his fifth incarnation (avatar), Vamana. Vis...
22/11/2024

The form of Vishnu directly associated with conveying cosmological themes is his fifth incarnation (avatar), Vamana. Vishnu manifested as the dwarf Vamana to thwart the grandiose sacrifice of the demon king Bali, who had defeated Indra and assumed his throne in the heavens of the gods (Indraloka or Svarga). When Bali offered the lowly Vamana anything of his choosing, Vamana humbly asked for all the land he could cover in three steps. After Bali granted his request, Vamana instantly transformed himself into the colossal Trivikrama (The Taker of Three Steps). His first step encompassed the earth, his second step traversed the entire sky, and his third step spanned the celestial regions. Bali was thus defeated and relegated to rule a minor domain. In a late 18th century Nepalese manuscript illustration, Trivikrama stands with his left leg upraised and pointed to the heavens to represent his three cosmic strides. Beneath him is the blue-skinned dwarf Vamana holding a mendicant’s staff. King Bali is shown twice in continuous narration. On the left, he is supporting Trivikrama’s right foot to indicate Vishnu’s domination. On the right, he is seated in the kingly posture of royal ease (maharajalila) and holding his hands in the gesture of devotion (anjali mudra).

Read more in Stephen Markle's article "Hindu Cosmology and Mythology" in our latest issue.

1. Dwarf Incarnation of Vishnu (Trivikrama)
Artist unknown, Nepal; late 18th century
Opaque watercolour and ink on paper; 8.3 x 29.2 cm
Los Angeles County Museum of Art (M.84.221.3)
Gift of Jerry Heymann

2. Vishnu in cosmic sleep
India, Uttar Pradesh; 11th century
Sandstone; 36.83 x 55.88 x 11.43 cm
Los Angeles County Museum of Art (M.79.111)
Gift of Mr. and Mrs. Harry Lenart

The Rig Veda, a book of hymns composed in Sanskrit between approximately 1700 and 1100 BCE, embodies the cultural belief...
20/11/2024

The Rig Veda, a book of hymns composed in Sanskrit between approximately 1700 and 1100 BCE, embodies the cultural beliefs of the Vedic (proto-Hindu) period of Indian civilization. As was common among prehistoric societies, these ancient peoples envisioned a mythic conception of the creation and structure of the universe. Although derived from observations of the natural world and the cyclical movement of celestial bodies, their vision was conceived in macrocosmic terms, describing enormous distances of galactic space and eons of primordial time. Over the course of the millennia following the mystical Vedic period, the formalized religions of Hinduism, Buddhism, and Jainism evolved from the collective Indian spiritual psyche, each with numerous sects and subsects postulating idiosyncratic doctrines and contrasting interpretations of core scriptures. Each of the religious orders also imagined varying components of and measurements for the structure
and nature of the universe.

Read more in Stephen Markel's article "Hindu Cosmology and Mythology" in our latest issue.

Images:
1. Indra
Nepal; 16th century
Gilt copper, gemstones, and traces of paint;
19.37 x 15.24 x 9.84 cm
Los Angeles County Museum of Art (M.69.13.4)
From the Nasli and Alice Heeramaneck Collection,
Museum Associates Purchase

2. Agni, God of Fire
India, Bihar; 11th century
Copper alloy; 11.43 x 6.35 x 5.08 cm
Los Angeles County Museum of Art (M.79.189.8)
Gift of Michael Phillips
Photo by John Listopad

With Abu Dabhi Art Fair director, Dyala Nusseibeh, reading the Nov/Dec 2025 issue of Orientations featuring a preview of...
20/11/2024

With Abu Dabhi Art Fair director, Dyala Nusseibeh, reading the Nov/Dec 2025 issue of Orientations featuring a preview of the fair. Get a complimentary copy at the Collectors Salon if you are in Abu Dabhi.

18/11/2024

The Orientations Black Friday sale is here! From now until December 1, enjoy 35% off all past issues and books on the Orientations and OM Publishing online stores.

Use code BLACKFRIDAY24 at checkout to redeem the sale discount.

Central to Daoist cosmology is the idea that all levels of reality relate to and mirror each other. These corresponding ...
15/11/2024

Central to Daoist cosmology is the idea that all levels of reality relate to and mirror each other. These corresponding levels appear in an epitaph carved into the stone cover of a Southern Tang dynasty (937–75) tomb in Suzhou, Jiangsu province, dated 946. At the centre, surrounding the name of the deceased (‘Master Wang’) written in seal script, are the Eight Trigrams. Moving outwards, arranged around the perimeter of the next square, are the twelve animal symbols of the Chinese zodiac, based not on the sun but on the twelve-year orbit of the planet Jupiter (Muxing, or Wood Star). The next square contains depictions of the constellations known as the 28 Lunar Mansions (Ershiba xiu), shown as a series of dots (stars) joined by straight lines; these are the constellations through which the moon moves in a 28-day lunar month, and these play a major role in Chinese astrology. Finally, on the outer panels, are the four animal symbols of the cardinal directions: Dragon of the East (yang), Tiger of the West (yin), Red Bird of the South (yang), and Dark Warrior (Xuanwu) of the North (yin), symbolized by a turtle with a snake wrapped around its body.

Read more in Stephen Little's article "Daoist and Buddhist Cosmologies in East Asia" in our current issue, see linkinbio.

Image:
1. Rubbing of the tomb cover epitaph of Master Wang
Cover excavated in 1964
China, Jiangsu province, Suzhou; Southern Tang dynasty (937–75), 946
20th century ink-on-paper rubbing; 40.5 x 58.5 cm
Original in the Yangzhou Museum, Yangzhou
(After Zhongguo shehui kexueyuan kaogu yanjiu suo, Zhongguo gudai tianwen wenwu tuji, Beijing, 1980, pl. 72)

2. Rubbing of The Chart of Heaven’s Patterns (Tianwen tu), taken from
a stone stele at the Confucian temple in Suzhou, Jiangsu province
China, Southern Song dynasty (1127–1279), 1247
Hanging scroll, 20th century ink-on-paper rubbing; 183 x 100 cm
Private collection

The most ancient symbols of yin and yang are the tiger and the dragon, which appear in opposition in the form of a clam-...
13/11/2024

The most ancient symbols of yin and yang are the tiger and the dragon, which appear in opposition in the form of a clam-shell mosaic in the 3rd millennium BCE in a Neolithic burial at Puyang, Henan province. While the tiger-dragon symbolism has continued into modern times, the better-known Daoist symbols of the flux of yin and yang are the Eight Trigrams (bagua), which appear incised on the back of a turtle-shaped ink tablet dating to the 1st century CE (Eastern Han dynasty). These visual combinations of broken and unbroken lines are the basis for the 64 hexagrams of the Zhou Yi (The Changes of the Zhou), the earliest form of the text now known as the Book of Changes (Yi Jing). The Eight Trigrams symbolize yin, yang, and the intermediary stages in the cycle from yin to yang and back. The most important of the Eight Trigrams are qian (yang) and kun (yin), represented by three unbroken and three broken lines respectively. The Zhou Yi is a text that provides a means of assessing the present state of the world and a basis for decision-making.

Read more in Stephen Little's article "Daoist and Buddhist Cosmologies in East Asia" in our current issue, see linkinbio.

Image:
Ink tablet in the form of a turtle with the Eight Trigrams
China; Eastern Han dynasty (25–220), 1st century
Earthenware with modelled and incised decoration; 25.4 x 10.16 x 10.16 cm
Minneapolis Institute of Arts, The William Hood Dunwoody Fund

In ancient Egypt, the world was believed to have emerged from a dark and infinite cosmic ocean known as the primeval wat...
08/11/2024

In ancient Egypt, the world was believed to have emerged from a dark and infinite cosmic ocean known as the primeval waters. This ocean was personified by a primordial being known as Nun. It was from the primeval waters that Nun first lifted the sun (known variously as Atum, Re, or Ra). Atum produced two children, Shu (‘air’) and Tefnet (‘moisture’), who mated and gave birth to Nut, the sky goddess, and Geb, the earth god; Shu then separated Nut from Geb. It was believed that at the dawn of each day, Nut gave birth to the sun, and at the end of each day she devoured the sun, which passed through her body during each night.

The Egyptians visualized planets, stars, and constellations as the embodiments and homes of myriad male and female deities of space and time whose interactions with humans were important in both life and death. Among the most important of these deities were Re, the sun god; the goddess Isis (embodied by the brilliant star Sirius); the god Osiris, lord of the underworld and of rebirth, embodied by the constellation Orion; and the sky goddess Nut, whose body spanned the sky. A personal relationship with these deities played a key role in establishing and maintaining the power and legitimacy of a long succession of Egyptian pharaohs.

Read more in Stephen Little's article "Mapping the Infinite: Cosmology Across Cultures" in our latest issue, see linkinbio.

Image:
1. Illustration ‘Zodiac chart from the Osiris Chapel of the Temple of Hathor, Dendera, Egypt’ (from the original bas relief, Ptolemaic
Period, c. 50 BCE) in Nuova illustrazione istorico-monumentale del basso e dell’alto Egitto by Domenico Valeriani (d. c. 1771),
published 1836–37
Photo: Getty Research Institute Library, Los Angeles, CA

2. ‘The Ptolemaic universe’, illustration from Harmonia Macrocosmica by Andreas Cellarius (c. 1596–1665), published 1661
Photo: Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA

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