skip to Main Content

Kaikodo Journal XX

Worlds of Wonder

Corresponding to the exhibition held between September 15 and October 15, 2001. 49 Chinese, Korean and Japanese paintings; 41 Chinese objects (90 color plates). Preface by Howard Rogers. 379 pages.

Includes the essays:
Wai-kam Ho:
“The Trubner Stele”
Chih-hung Yen:
“Representations of the Bhaisajyaguru
Sutra at Tun-huang”
Howard Rogers:
“Third Man Theory”
Patricia J. Graham:
“Okubo Shibutsu, Vagabond Poet of Edo,
and His Nanga Painter-friends”

This issue of the Kaikodo Journal corresponds to a sale exhibition held in our gallery in New York between September 15 and October 15, 2001. The journal begins with a tribute to the extraordinary Maria-Gaetana (Tana) Matisse by her friend and specialist and dealer supreme of old European masterworks, Deborah Gage. The second section consists of tributes to the sadly demolished Buddhas of Bamiyan. The first is by Roya Tsuchiya, daughter of the art-historian Haruko Tsuchiya, a specialist in the art of northern India and Central Asia, and Ahmad Ali Motamedi, former director of the Archaeological Museum in Kabul. Roya was born in Afghanistan and, given the interests of her parents, grew up in close proximity to the monuments others of us have admired only in photographs and slides. The second is by the world-renowned photographers John Bigelow Taylor and Dianne Dubler, who count among their numerous projects photography for Kaikodo Journal. Roya, Dianne, and John met the Buddhas of Bamiyan during approximately the same period of time, and share here their first-hand experiences at the site.

Four essays are included in this issue of the journals. First is that by Wai-kam Ho, notable for being one of very few essays that have .been published by one of the foremost scholars of our day. Member of the last generation to receive a traditional classical education at the National University in Beijing, Wai-kam subsequently did graduate work in art-history and religious art at Harvard University before joining Director Sherman E. Lee at the Cleveland Museum of Art as Curator of Chinese Art and participating in the glorious period during which the museum acquired many of the Asian works of art that are now famed throughout the world. Subsequently brought by Director Marc F Wilson to the Nelson-Atkins Museum of Art in Kansas City, Wai-kam made significant contributions to that institution as well, most notably the seminal exhibition The Century of Tung Ch’i-ch’ang (1555-1636) .The essay by Wai- kam Ho offered here is concerned with connoisseurship at its deepest and most basic level. Readers should take special note of the range of disciplines brought to bear on the subject, a stele in the Metropolitan Museum in New York, for the procedures followed are as important to our education as the conclusions reached in the essay.

The second essay if by Professor Chih-hung Yen, a specialist in Buddhist art who, at the time of this journal’s publication, was assistant professor in the graduate school at National Chi-nan University and a research fellow at the Academia Sinica. In this essay Professor Yen traces the evolution of a particular theme–representations of the Pure Crystal Realm of the Medicine Buddha–in the cave paintings at Dunhuang.

Howard Rogers’s essay is concerned with the painting known as “The Riverbank” and attributed to the 10th-century artist Dong Yuan, in an attempt to identify the subject of the painting then to discuss the possible implications of that identification.

The final essay is by Dr. Patricia Graham, a well-known scholar of and writer on Japanese art-history. In her article she views Japanese literati culture from an unusual viewpoint, that of the Chinese-style poetry composed by Okubo Shibutsu for paintings done by his Nanga painter-friends, leading to greater illumination of the web of ideals, cultural assumptions, and needs that bound these talents together.

Kaikodo Journal XXXIX - Spring 2023 (web)Online only
Kaikodo Journal XXXVIII - Spring 2022 (web)Online only
Kaikodo Journal XXXVII - Spring 2021 (web)Online only
Kaikodo Journal XXXVI - Spring 2020 (web)Online only
Kaikodo Journal XXXV - Spring 2019 (web)Online only
Kaikodo Journal XXXIV - Spring 2018 (web)Online only
Kaikodo Journal XXXIII - Spring 2017 (web)Online only
Kaikodo Journal XXXII - Spring 2016 (web)Online only
Kaikodo Journal XXXI - Spring 2015Available
Kaikodo Journal XXX - Spring 2014Available
Kaikodo Journal XXIX - Spring 2013Available
Kaikodo Journal XXVIII - Spring 2012Available
Kaikodo Journal XXVII - Spring 2011Available
Kaikodo Journal XXVI - Spring 2010available
Kaikodo Journal XXV - Spring 2009Available
Kaikodo Journal XXIV - Spring 2008Available
Kaikodo Journal XXIII - Spring 2007
Spring in Jinling - Spring 2004
Kaikodo Journal XXII - Spring 2002
Kaikodo Journal XXI - Autumn 2001
Kaikodo Journal XX - Autumn 2001Available
Kaikodo Journal XIX - Spring 2001Available
Kaikodo Journal XVIII - November 2000
Kaikodo Journal XVII - Autumn 2000
Kaikodo Journal XVI - May 2000Available
Kaikodo Journal XV - Spring 2000Available
Kaikodo Journal XIV - November 1999Available
Kaikodo Journal XIII - Autumn 1999Available
Kaikodo Journal XII - Autumn 1999
In Two Dimensions - Spring 1999
Kaikodo Journal XI - Spring 1999
Kaikodo Journal X - November 1998Out of Print
Kaikodo Journal IX - Autumn 1998Available
Kaikodo Journal VIII - May 1998Available
Kaikodo Journal VII - Spring 1998Available
Kaikodo Journal VI - October 1997Not Available
Kaikodo Journal V - Autumn 1997
Kaikodo Journal IV - May 1997OUT OF PRINT
Kaikodo Journal III - Spring 1997OUT OF PRINT
Kaikodo Journal II - Autumn 1996OUT OF PRINT
Kaikodo Journal I - Spring 1996OUT OF PRINT
Backward Glances - February 1996
Back To Top