Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art byBarbara Lipton; Nima Dorjee RagnubsReview by: E. G.Journal of the American Oriental Society, Vol. 120, No. 3 (Jul. - Sep., 2000), p. 497Published by: American Oriental SocietyStable URL: http://www.jstor.org/stable/606056 .
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Brief Reviews of Books Brief Reviews of Books Brief Reviews of Books Brief Reviews of Books Brief Reviews of Books
As is customary for the publications of the Centre for East Asian Cultural Studies, the presentation is impeccable. The Western reader can only be envious of the resources that have been so generously expended on what would doubtless here be considered a rather recondite subject.
E. G.
Golden Letters: Writing Traditions of Indonesia. By ANNABEL TEH GALLOP, assisted by BERNARD ARPS. London: THE BRITISH LIBRARY, 1991. Pp. 152 (paper).
This is the catalogue of an exhibition of Indonesian manu-
scripts held in British libraries that toured various Indonesian cities in 1990 and 1991-some, however, saw only photographs of the manuscripts. The items were selected chiefly for their
calligraphy and illuminations. Two date from the seventeenth
century, but most are in the nature of official communications from various local potentates to Sir Thomas Raffles, Lieutenant Governor of Java (1811-16) and of Bengkulu (1818-24). The
catalogue, patronized by a Who's Who of British business in- terests in Indonesia, is sumptuous. In addition to the reproduc- tions and conspectus, there are appended a transliteration of the letters, biographical sketches of major collectors, and a short
bibliography.
As is customary for the publications of the Centre for East Asian Cultural Studies, the presentation is impeccable. The Western reader can only be envious of the resources that have been so generously expended on what would doubtless here be considered a rather recondite subject.
E. G.
Golden Letters: Writing Traditions of Indonesia. By ANNABEL TEH GALLOP, assisted by BERNARD ARPS. London: THE BRITISH LIBRARY, 1991. Pp. 152 (paper).
This is the catalogue of an exhibition of Indonesian manu-
scripts held in British libraries that toured various Indonesian cities in 1990 and 1991-some, however, saw only photographs of the manuscripts. The items were selected chiefly for their
calligraphy and illuminations. Two date from the seventeenth
century, but most are in the nature of official communications from various local potentates to Sir Thomas Raffles, Lieutenant Governor of Java (1811-16) and of Bengkulu (1818-24). The
catalogue, patronized by a Who's Who of British business in- terests in Indonesia, is sumptuous. In addition to the reproduc- tions and conspectus, there are appended a transliteration of the letters, biographical sketches of major collectors, and a short
bibliography.
As is customary for the publications of the Centre for East Asian Cultural Studies, the presentation is impeccable. The Western reader can only be envious of the resources that have been so generously expended on what would doubtless here be considered a rather recondite subject.
E. G.
Golden Letters: Writing Traditions of Indonesia. By ANNABEL TEH GALLOP, assisted by BERNARD ARPS. London: THE BRITISH LIBRARY, 1991. Pp. 152 (paper).
This is the catalogue of an exhibition of Indonesian manu-
scripts held in British libraries that toured various Indonesian cities in 1990 and 1991-some, however, saw only photographs of the manuscripts. The items were selected chiefly for their
calligraphy and illuminations. Two date from the seventeenth
century, but most are in the nature of official communications from various local potentates to Sir Thomas Raffles, Lieutenant Governor of Java (1811-16) and of Bengkulu (1818-24). The
catalogue, patronized by a Who's Who of British business in- terests in Indonesia, is sumptuous. In addition to the reproduc- tions and conspectus, there are appended a transliteration of the letters, biographical sketches of major collectors, and a short
bibliography.
As is customary for the publications of the Centre for East Asian Cultural Studies, the presentation is impeccable. The Western reader can only be envious of the resources that have been so generously expended on what would doubtless here be considered a rather recondite subject.
E. G.
Golden Letters: Writing Traditions of Indonesia. By ANNABEL TEH GALLOP, assisted by BERNARD ARPS. London: THE BRITISH LIBRARY, 1991. Pp. 152 (paper).
This is the catalogue of an exhibition of Indonesian manu-
scripts held in British libraries that toured various Indonesian cities in 1990 and 1991-some, however, saw only photographs of the manuscripts. The items were selected chiefly for their
calligraphy and illuminations. Two date from the seventeenth
century, but most are in the nature of official communications from various local potentates to Sir Thomas Raffles, Lieutenant Governor of Java (1811-16) and of Bengkulu (1818-24). The
catalogue, patronized by a Who's Who of British business in- terests in Indonesia, is sumptuous. In addition to the reproduc- tions and conspectus, there are appended a transliteration of the letters, biographical sketches of major collectors, and a short
bibliography.
As is customary for the publications of the Centre for East Asian Cultural Studies, the presentation is impeccable. The Western reader can only be envious of the resources that have been so generously expended on what would doubtless here be considered a rather recondite subject.
E. G.
Golden Letters: Writing Traditions of Indonesia. By ANNABEL TEH GALLOP, assisted by BERNARD ARPS. London: THE BRITISH LIBRARY, 1991. Pp. 152 (paper).
This is the catalogue of an exhibition of Indonesian manu-
scripts held in British libraries that toured various Indonesian cities in 1990 and 1991-some, however, saw only photographs of the manuscripts. The items were selected chiefly for their
calligraphy and illuminations. Two date from the seventeenth
century, but most are in the nature of official communications from various local potentates to Sir Thomas Raffles, Lieutenant Governor of Java (1811-16) and of Bengkulu (1818-24). The
catalogue, patronized by a Who's Who of British business in- terests in Indonesia, is sumptuous. In addition to the reproduc- tions and conspectus, there are appended a transliteration of the letters, biographical sketches of major collectors, and a short
bibliography.
Classical Dance and Theatre in South-East Asia. By JUKKA O. MIETTINEN. New York: OXFORD UNIVERSITY PRESS, 1992.
Pp. xx + 175. $75.
This is a lavishly illustrated survey of the "dance traditions" of Burma, Thailand, Java, Bali, Cambodia (with Laos and Ma- laysia), and Vietnam. To each situs a separate chapter is de- voted. Another chapter is reserved to the Chinese theatrical tradition, as a component of local traditions throughout the region. The individual treatments cover the various forms of theatre (including puppet theatre), its mis-en-scene, and histor- ical development. As can be well imagined, the whole is broad but not very deep. It will serve admirably anyone wishing a comprehensive introduction to this vast subject (or subjects). A brief bibliography and index are provided.
E. G.
Classical Dance and Theatre in South-East Asia. By JUKKA O. MIETTINEN. New York: OXFORD UNIVERSITY PRESS, 1992.
Pp. xx + 175. $75.
This is a lavishly illustrated survey of the "dance traditions" of Burma, Thailand, Java, Bali, Cambodia (with Laos and Ma- laysia), and Vietnam. To each situs a separate chapter is de- voted. Another chapter is reserved to the Chinese theatrical tradition, as a component of local traditions throughout the region. The individual treatments cover the various forms of theatre (including puppet theatre), its mis-en-scene, and histor- ical development. As can be well imagined, the whole is broad but not very deep. It will serve admirably anyone wishing a comprehensive introduction to this vast subject (or subjects). A brief bibliography and index are provided.
E. G.
Classical Dance and Theatre in South-East Asia. By JUKKA O. MIETTINEN. New York: OXFORD UNIVERSITY PRESS, 1992.
Pp. xx + 175. $75.
This is a lavishly illustrated survey of the "dance traditions" of Burma, Thailand, Java, Bali, Cambodia (with Laos and Ma- laysia), and Vietnam. To each situs a separate chapter is de- voted. Another chapter is reserved to the Chinese theatrical tradition, as a component of local traditions throughout the region. The individual treatments cover the various forms of theatre (including puppet theatre), its mis-en-scene, and histor- ical development. As can be well imagined, the whole is broad but not very deep. It will serve admirably anyone wishing a comprehensive introduction to this vast subject (or subjects). A brief bibliography and index are provided.
E. G.
Classical Dance and Theatre in South-East Asia. By JUKKA O. MIETTINEN. New York: OXFORD UNIVERSITY PRESS, 1992.
Pp. xx + 175. $75.
This is a lavishly illustrated survey of the "dance traditions" of Burma, Thailand, Java, Bali, Cambodia (with Laos and Ma- laysia), and Vietnam. To each situs a separate chapter is de- voted. Another chapter is reserved to the Chinese theatrical tradition, as a component of local traditions throughout the region. The individual treatments cover the various forms of theatre (including puppet theatre), its mis-en-scene, and histor- ical development. As can be well imagined, the whole is broad but not very deep. It will serve admirably anyone wishing a comprehensive introduction to this vast subject (or subjects). A brief bibliography and index are provided.
E. G.
Classical Dance and Theatre in South-East Asia. By JUKKA O. MIETTINEN. New York: OXFORD UNIVERSITY PRESS, 1992.
Pp. xx + 175. $75.
This is a lavishly illustrated survey of the "dance traditions" of Burma, Thailand, Java, Bali, Cambodia (with Laos and Ma- laysia), and Vietnam. To each situs a separate chapter is de- voted. Another chapter is reserved to the Chinese theatrical tradition, as a component of local traditions throughout the region. The individual treatments cover the various forms of theatre (including puppet theatre), its mis-en-scene, and histor- ical development. As can be well imagined, the whole is broad but not very deep. It will serve admirably anyone wishing a comprehensive introduction to this vast subject (or subjects). A brief bibliography and index are provided.
E. G.
Dictionary of Traditional South-East Asian Theatre. By GHULAM-SARWAR YOUSOF. Kuala Lumpur: OXFORD UNI- VERSITY PRESS, 1994. Pp. 327. $32 (paper).
Dictionary of Traditional South-East Asian Theatre. By GHULAM-SARWAR YOUSOF. Kuala Lumpur: OXFORD UNI- VERSITY PRESS, 1994. Pp. 327. $32 (paper).
Dictionary of Traditional South-East Asian Theatre. By GHULAM-SARWAR YOUSOF. Kuala Lumpur: OXFORD UNI- VERSITY PRESS, 1994. Pp. 327. $32 (paper).
Dictionary of Traditional South-East Asian Theatre. By GHULAM-SARWAR YOUSOF. Kuala Lumpur: OXFORD UNI- VERSITY PRESS, 1994. Pp. 327. $32 (paper).
Dictionary of Traditional South-East Asian Theatre. By GHULAM-SARWAR YOUSOF. Kuala Lumpur: OXFORD UNI- VERSITY PRESS, 1994. Pp. 327. $32 (paper).
The present dictionary, the "first of its kind," complements the work reviewed above, and covers approximately the same
geographical area, adding the Philippines. The focus is general, and many contemporary subjects are included. But the past is not neglected-for instance, the entry Mahabharata (sic-dia- critics, as in Malay, are not used) receives over five full pages, and includes even a precis of the eighteen books. Of course, the
emphasis is on the reception of the Mahabharata-Indianists
may find some of the views expressed rather quaint, but always interesting. Entries cover not only the types, sources, and means of theatrical representation, but include many biographical no- tices. There are close to one hundred illustrations, some taking up half a page. The author was at one time associated with James Brandon, of the University of Hawaii, and evidently shares the latter's love of Asian theatre. It is clear that this book belongs in
any major reference library. E. G.
Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art. By BARBARA LIPTON and NIMA DORJEE RAGNUBS. Oxford: OXFORD UNIVERSITY PRESS, 1996. Pp. xviii + 295. $29.95 (paper).
The present dictionary, the "first of its kind," complements the work reviewed above, and covers approximately the same
geographical area, adding the Philippines. The focus is general, and many contemporary subjects are included. But the past is not neglected-for instance, the entry Mahabharata (sic-dia- critics, as in Malay, are not used) receives over five full pages, and includes even a precis of the eighteen books. Of course, the
emphasis is on the reception of the Mahabharata-Indianists
may find some of the views expressed rather quaint, but always interesting. Entries cover not only the types, sources, and means of theatrical representation, but include many biographical no- tices. There are close to one hundred illustrations, some taking up half a page. The author was at one time associated with James Brandon, of the University of Hawaii, and evidently shares the latter's love of Asian theatre. It is clear that this book belongs in
any major reference library. E. G.
Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art. By BARBARA LIPTON and NIMA DORJEE RAGNUBS. Oxford: OXFORD UNIVERSITY PRESS, 1996. Pp. xviii + 295. $29.95 (paper).
The present dictionary, the "first of its kind," complements the work reviewed above, and covers approximately the same
geographical area, adding the Philippines. The focus is general, and many contemporary subjects are included. But the past is not neglected-for instance, the entry Mahabharata (sic-dia- critics, as in Malay, are not used) receives over five full pages, and includes even a precis of the eighteen books. Of course, the
emphasis is on the reception of the Mahabharata-Indianists
may find some of the views expressed rather quaint, but always interesting. Entries cover not only the types, sources, and means of theatrical representation, but include many biographical no- tices. There are close to one hundred illustrations, some taking up half a page. The author was at one time associated with James Brandon, of the University of Hawaii, and evidently shares the latter's love of Asian theatre. It is clear that this book belongs in
any major reference library. E. G.
Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art. By BARBARA LIPTON and NIMA DORJEE RAGNUBS. Oxford: OXFORD UNIVERSITY PRESS, 1996. Pp. xviii + 295. $29.95 (paper).
The present dictionary, the "first of its kind," complements the work reviewed above, and covers approximately the same
geographical area, adding the Philippines. The focus is general, and many contemporary subjects are included. But the past is not neglected-for instance, the entry Mahabharata (sic-dia- critics, as in Malay, are not used) receives over five full pages, and includes even a precis of the eighteen books. Of course, the
emphasis is on the reception of the Mahabharata-Indianists
may find some of the views expressed rather quaint, but always interesting. Entries cover not only the types, sources, and means of theatrical representation, but include many biographical no- tices. There are close to one hundred illustrations, some taking up half a page. The author was at one time associated with James Brandon, of the University of Hawaii, and evidently shares the latter's love of Asian theatre. It is clear that this book belongs in
any major reference library. E. G.
Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art. By BARBARA LIPTON and NIMA DORJEE RAGNUBS. Oxford: OXFORD UNIVERSITY PRESS, 1996. Pp. xviii + 295. $29.95 (paper).
The present dictionary, the "first of its kind," complements the work reviewed above, and covers approximately the same
geographical area, adding the Philippines. The focus is general, and many contemporary subjects are included. But the past is not neglected-for instance, the entry Mahabharata (sic-dia- critics, as in Malay, are not used) receives over five full pages, and includes even a precis of the eighteen books. Of course, the
emphasis is on the reception of the Mahabharata-Indianists
may find some of the views expressed rather quaint, but always interesting. Entries cover not only the types, sources, and means of theatrical representation, but include many biographical no- tices. There are close to one hundred illustrations, some taking up half a page. The author was at one time associated with James Brandon, of the University of Hawaii, and evidently shares the latter's love of Asian theatre. It is clear that this book belongs in
any major reference library. E. G.
Treasures of Tibetan Art: Collections of the Jacques Marchais Museum of Tibetan Art. By BARBARA LIPTON and NIMA DORJEE RAGNUBS. Oxford: OXFORD UNIVERSITY PRESS, 1996. Pp. xviii + 295. $29.95 (paper).
The Jacques Marchais Museum is located on Staten Island and houses a representative ensemble of circa twelve hundred Tibetan items that began as a personal collection in the 1930s, but has since been augmented with other purchases, notably that of the Bendix estate. Many of the items were acquired from or in China during very troubled times when many objets d'art sacres found their way into private hands. Jacques Mar- chais, a pseudonym of the founder-collector, Edna Coblentz, was evidently a colorful personality, who, among her other achievements, designed and oversaw construction of the pres- ent museum property-a Shangri-La in the New York 'burbs, or, in her words, "the Potala of the West." This catalogue pre- sents 146 pieces, some in color, none very old, which certainly give a well-rounded view of the various genera of Tibetan art. A lovely photo of the Museum's "altar" is also provided. Two appendices, various indices, and a bibliography round out this quite useful volume-and one made available at a reasonable price.
E.G.
The Jacques Marchais Museum is located on Staten Island and houses a representative ensemble of circa twelve hundred Tibetan items that began as a personal collection in the 1930s, but has since been augmented with other purchases, notably that of the Bendix estate. Many of the items were acquired from or in China during very troubled times when many objets d'art sacres found their way into private hands. Jacques Mar- chais, a pseudonym of the founder-collector, Edna Coblentz, was evidently a colorful personality, who, among her other achievements, designed and oversaw construction of the pres- ent museum property-a Shangri-La in the New York 'burbs, or, in her words, "the Potala of the West." This catalogue pre- sents 146 pieces, some in color, none very old, which certainly give a well-rounded view of the various genera of Tibetan art. A lovely photo of the Museum's "altar" is also provided. Two appendices, various indices, and a bibliography round out this quite useful volume-and one made available at a reasonable price.
E.G.
The Jacques Marchais Museum is located on Staten Island and houses a representative ensemble of circa twelve hundred Tibetan items that began as a personal collection in the 1930s, but has since been augmented with other purchases, notably that of the Bendix estate. Many of the items were acquired from or in China during very troubled times when many objets d'art sacres found their way into private hands. Jacques Mar- chais, a pseudonym of the founder-collector, Edna Coblentz, was evidently a colorful personality, who, among her other achievements, designed and oversaw construction of the pres- ent museum property-a Shangri-La in the New York 'burbs, or, in her words, "the Potala of the West." This catalogue pre- sents 146 pieces, some in color, none very old, which certainly give a well-rounded view of the various genera of Tibetan art. A lovely photo of the Museum's "altar" is also provided. Two appendices, various indices, and a bibliography round out this quite useful volume-and one made available at a reasonable price.
E.G.
The Jacques Marchais Museum is located on Staten Island and houses a representative ensemble of circa twelve hundred Tibetan items that began as a personal collection in the 1930s, but has since been augmented with other purchases, notably that of the Bendix estate. Many of the items were acquired from or in China during very troubled times when many objets d'art sacres found their way into private hands. Jacques Mar- chais, a pseudonym of the founder-collector, Edna Coblentz, was evidently a colorful personality, who, among her other achievements, designed and oversaw construction of the pres- ent museum property-a Shangri-La in the New York 'burbs, or, in her words, "the Potala of the West." This catalogue pre- sents 146 pieces, some in color, none very old, which certainly give a well-rounded view of the various genera of Tibetan art. A lovely photo of the Museum's "altar" is also provided. Two appendices, various indices, and a bibliography round out this quite useful volume-and one made available at a reasonable price.
E.G.
The Jacques Marchais Museum is located on Staten Island and houses a representative ensemble of circa twelve hundred Tibetan items that began as a personal collection in the 1930s, but has since been augmented with other purchases, notably that of the Bendix estate. Many of the items were acquired from or in China during very troubled times when many objets d'art sacres found their way into private hands. Jacques Mar- chais, a pseudonym of the founder-collector, Edna Coblentz, was evidently a colorful personality, who, among her other achievements, designed and oversaw construction of the pres- ent museum property-a Shangri-La in the New York 'burbs, or, in her words, "the Potala of the West." This catalogue pre- sents 146 pieces, some in color, none very old, which certainly give a well-rounded view of the various genera of Tibetan art. A lovely photo of the Museum's "altar" is also provided. Two appendices, various indices, and a bibliography round out this quite useful volume-and one made available at a reasonable price.
E.G.
497 497 497 497 497
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