An interesting article with the title “An Introduction to the World of Shan Manuscripts” by our member Jotika Khur-Yearn has appeared on the blog of the SOAS Subject Librarians. It gives a short overview of the Shan manuscript tradition and collections of Shan manuscripts in the UK. Jotika is currently working on an exhibition of Shan manuscripts which will be on display at the Wolfson Gallery of the SOAS Library in London in November and December 2014. More details about the upcoming exhibition will follow on this blog nearer the time.
University of Copenhagen, 24-26 June 2015
The Asian Dynamics Initiative (ADI) is pleased to announce the 7th annual international ADI conference on “Food, Feeding and Eating In and Out of Asia”.
The conference will span three days and feature distinguished keynote speakers as well as interdisciplinary panels.
Food, feeding and eating activities are as old as life itself, but recently there has been a heightened interest in such issues within policy-making, international relations, and academic scholarship ranging from the bio-medical, philosophical, historical, and political to the social, cultural, economic, and religious. Food is both global and local: while foods, cuisines, recipes, people, and culinary cosmopolitanisms have been in global circuits of flows and circulations through various periods of history, the smells, sights, sounds, textures, and tastes of local foodscapes may evoke memories of ‘home’ and imaginations of travel alike. Moreover, with increasing numbers of people concentrated in large cities and urban agglomerations, the challenges of feeding people are becoming ever more complex. Against the backdrop of globalisation of Asia and Asian foods, this conference focuses on the wide-ranging aspects of production, consumption, distribution, disposal, and circulation of foods in and out of Asia.
ADI is a cross-faculty and interdisciplinary effort to meet the current challenges and demands for better knowledge of and deeper insights into Asian matters. This conference is the 7th in a series of annual, interdisciplinary conferences initiated by ADI in 2008.
For more information, call for panels, keynote speakers, and registration please visit the conference homepage.
The Centre of the Studies of Manuscripts Cultures (University of Hamburg) organizes a conference on Manuscripts and Archives from 19-22 November 2014. Contributions from the field of Southeast Asian manuscript cultures are most welcome and are encouraged. Proposals should be submitted as soon as possible.
The conference will explore the complex topic of the archive in a historical, systematic and comparative dimension and try to contextualise it in the broader context of manuscript cultures by addressing the following questions: How, by whom and for which purpose are archival records produced? Is there any observable difference from literary manuscripts concerning materials, formats, producers (scribes)? Where are they stored, how organised? Are there other objects stored together with the records? Which practices are involved inside the archive, how and by whom are they used? Is there a term or a concept of archive as opposed to library, museum, cabinet (of curiosities) and the like? Is there a relation to historiography? Is there an archival science (archivology)?
The conference takes place at the Centre for the Study of Manuscript Cultures, Warburgstraße 26, Hamburg, Germany.
Participation in the conference is free of charge and vistors are welcome.
For more detailed information and registration please visit the CSMC website: http://www.manuscript-cultures.uni-hamburg.de/register_archives.html
An amazing illustrated manuscript of Thai poetry can be viewed online on the World Digital Library website.
This Thai folding book (samut khoi), which is being kept at the Bavarian State Library in Munich (Bayrische Staatsbibliothek), dates from the second half of the 19th century. It contains poems by an unknown author. The poems tell of the loss of a beloved woman. Not only is each poem a work of art in itself, many of them are also accompanied by illustrations of outstanding quality showing mythological figures and motifs from Thai literary works, including the Ramayana.
To view a fully digitised copy of the manuscript, please view the WDL website.
Throughout Vietnam there are museums, references, and memorials dedicated to the Vietnam War and the wars in Indochina. In the city of Ho Chi Minh City, the former Saigon, we probably find best and most comprehensive museum dedicated to the Vietnam War.
The organisation Vietnamitas en Madrid has created a virtual tour to the Vietnam War Museum (War Remnants Museum) for all those who can not travel to Saigon, or for travellers who had no time to see the museum during their visit to the city.
The virtual visit to the Vietnam War Museum is composed of a collection of videos and photos to show the exterior exhibition areas, the exhibition halls and the 3 floors of the Museum of Saigon Guerra. The largest part of the museum are the exterior areas. In the grounds of the Museum are displayed machinery of war and heavy artillery that the Viet Cong captured from U.S. Army: aircraft, fighters, helicopters, tanks, bombs, anti-aircraft artillery, flamethrowers, etc.
The interior houses collections of propaganda posters, photographs and videos documenting the effects of Agent Orange, of which many are truly shocking. Also included are collections of guns, ammunition and landmines, battle scenes, gear and medals of American soldiers.
The museum stands as a reminder of the atrocities of the Vietnam War in particular, and of the inhumanity of any war.
To enter the virtual tour of the Vietnam War Museum, please visit the homepage of the Vietnamitas en Madrid organisation.
ASEASUK, the Association for Southeast Asian Studies in the UK, announces that its 28th Annual Conference will take place at the University of Brighton, UK from 12th to 14th September 2014.
Themed conference panels are as follows:
•Framing South East Asia: The role of the Museum
•Southeast Asian Performing Arts: Tradition in Modernity
•Malay/Indonesian Manuscript Studies
•Digital/Ritual: Southeast Asia and new global media
•Contemporary architectural and urban practices in Southeast Asia
•Resilience and responsibility in tourism
•Assembling Infrastructure: Development, Counterinsurgency and Political Struggle in Myanmar/Burma
•Political ecology, resilience and environmental justice in a changing Southeast Asia
•Conceptualizing political modernity in Southeast Asia
•Illiberal Pluralism in SE Asia’s Economic Reform Experience
•Contemporary Politics in Cambodia
•Constitutional Politics in Burma/Myanmar
•Gender, Migrations and Racialisation in Southeast Asia
•Rethinking Gender and Development in Southeast Asia: Methodological Entanglements.
•Emerging Scholars Panel
For more detailed information please view the conference homepage.
Originally composed in India in Sanskrit over two and half thousand years ago by Valmiki, the Ramayana is also one of the most popular masterworks throughout Southeast Asia. This is reflected not only in the literary traditions, but also in the performing and fine arts, as well as in architecture and modern design. The epic tells the story of Rama, his brother Lakshmana and Rama’s wife Sita, who was kidnapped by the demon king Ravana. The main part of the epic is about the fight between Ravana and Rama, who wants to get his wife back. In this battle, Rama is supported by his brother and a monkey chief, Hanuman, with his armies.
The Thai version of the epic is known as the Ramakien. The Rama story is thought to have been known to the Thais since at least the 13th century. It was adopted from older Khmer sources, hence the similarity to the Khmer title Reamker. Various new versions of the story have been composed, often by royal authors, since the 16th and 17th centuries. However, large numbers of Thai manuscripts were lost with the destruction of Ayutthya in 1767, and the Ramakien known today was compiled only between 1785 and 1807 under the supervision of King Rama I (1785-1809). The famous reliefs depicting about 150 scenes from the Ramakien at Wat Phra Chetuphon (Wat Pho) in Bangkok date back to the early 19th century. Manuscript and mural paintings showing scenes from the Ramakien are particularly famous for their illustrations of the monkey armies. Best known are the mural paintings at the royal temple Wat Phra Kaeo in Bangkok. In King Rama I’s version of the Ramakien all names, places, traditions, and flora and fauna were adapted to a Thai context. In this form, the Rama story has become an epic of national character in Thailand, and it is very popular not only as a literary work, but also as a mask dance (khon) and even TV drama. It has been re-published many times in the form of children’s and juvenile literature, and characters from the Ramayana have featured on series of postal stamps and trading cards. The title of Rama constantly re-occurs in the royal genealogies of Thailand.
The Lao version of the Ramayana is known as Phra Lak Phra Ram (or Pha Lak Pha Lam since in modern Lao R is often replaced by L), the title referring to both the brothers Lakshmana and Rama. Sometimes it is also called Phra Ram sadok (Rama Jataka) as it is widely believed that Rama was a former incarnation of a Buddha-to-be. The Rama story featured in many mural paintings and wood relief carvings on temple doors and windows. It was also one of the favourite themes in the repertoire of the Lao Royal Ballet until 1975, and this tradition has been revived since 2002 by the Royal Ballet Theatre of Luang Prabang.
Numerous palm-leaf manuscripts from all regions of Laos containing shorter versions of the Lao Ramayana, Lam Pha Lam, show that the story was very popular all over the country in urban centres as much as in rural areas. These versions were created in order to be sung by a Mor Lam, a traditional expert singer who can melodically recite lengthy poems and epic literature while being accompanied by a Khaen (bamboo mouth organ). In both Thai and Lao traditions, Hanuman was part of a favourite Yantra design used by soldiers and martial arts specialists. The leader of the monkey armies represents strength, stamina, agility, intelligence and devotion. Hanuman Yantras would either be drawn on protective shirts, headbands, battle standards of entire armies, or, most efficiently and durably, tattooed on a fighter’s body.
More information about the Ramayana in other countries of Southeast Asia can be found in a series of articles on the British Library’s Asian and African Studies blog.
Silk and cotton weaving is an art that was practiced among all Tai peoples, and still is well known among most of them. Handwoven textiles showed not only the wealth of families, communities, and the Tai royal courts, but also was an important factor in the commercial relations between the Tai and their neighbours like China, Angkor, and Vietnam. Tai textiles were mentioned as tributary gifts and merchandise in the historical records of the Ming dynasty. It is impossible to exactly date the beginnings of weaving in the region of Southeast Asia and Southern China. More than thousand years ago, trade flourished between India and China via various silk roads. The south-west silk road had its origin in Sichuan where traders followed the rivers through the mountainous areas to today`s Assam. Silk and textile trade may have favoured and influenced the development of different weaving and dyeing techniques, but also design and use of textiles among the various Tai groups. Clothes are used as a form of group identification, and textiles have been very important symbols of prestige throughout history. But, they also fulfil important ritual and religious functions.
These and various other aspects of Tai textiles are the topic of an online exhibition of material from the SEACOM collections, curated by Jana Igunma and Cholthira Satyawadhna, and photographed by Oliver Raendchen.
A Thai Treatise on Cats (Or.16797) has recently been digitised and made available online by the British Library. The original manuscript containing fine paintings of cats was brought to the library in February 2011 by the wife of an elderly manuscripts collector in the UK. The manuscript could easily be identified as a Treatise on Cats, similar to one manuscript already in the library’s Thai collections (Or.16008). However, the significant difference between the two manuscripts is that the illustrations in the newly acquired item are watercolour paintings on cream coloured paper whereas the other manuscipt contains drawings in white chalk on blackened paper.
The newly acquired Treatise on Cats has the format of a Thai folding book (samut khoi) with 12 folios, which open from top to bottom. It was produced in the 19th century in Central Thailand. Folding books were usually made from the bark…
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International Conference, April 25-26, 2014 in New Delhi
The Indira Gandhi National Centre for the Arts proposes to hold an International Conference on Cham Art Heritage of Vietnam. The Cham people are the inhabitants of mountainous region of Central – South Vietnam, Cambodia and Laos. Currently, they numbered over six hundred thousand who are descendants of a mighty kingdom called Champa which flourished in Central part of Vietnam. They are people of Malayo Polynesian origin. Champa of Vietnam appeared in the epigraphic record as Champaura / Campanagra reminds us a historic city of India.
The Cultural heritage of Champa appears to be very ancient one that can be traced from the dvapara era with the establishment of mukhalinga of Shambhu (Shiva) in Kauthara by king Vicitrasagara or Vicitra. This name Sagara recalls the King of Ayudhya mentioned in the Ramayana. Epigraphic records mention the beginning of the rule in the kingdom of Champa. It is god Sambhu who sent Uroja to occupy the throne of Champura.
Historically, the Kingdom of Champa began in the end of 2nd Century A.D., then known as kingdom “Lin-yi” in the Chinese sources. In the course of time, they gradually adopted aspects of Indian civilization in the selective manner. The Cham script is of Indian origin and their art forms betray Indian influences while maintaining their autonomous status. Their various principalities such as Panduranga, Vijay, Kauthara, Amaravati etc. are all derived from Indian proto types.
The Cham followed Hinduism based on veneration of Indian trinity: Brahma, Vishnu and Shiva, and the Shakti or wives of the latter two. But Siva was the root of the State of Champa. He was usually worshipped in the shape of lingam, covered with a sheath or Kosha, often of gold, depicting the faces of the god. Besides, god Ganesha, Skanda, Nandi, Garuda were highly venerated as they are depicted in art. With the foundation of Mahayana monastery of Lakshmindralokesvara at Dong-Duong (Quang-Nam province) by Indravarman II in the year 875 A.D,, Buddhism began to exercise its influence on Champa. Thus, both Hinduism and Buddhism flourished side by side. The kingdom Champa seized to exist as an independent kingdom in fifteenth century A.D.
During historical periods, Cham produced significant Hindu and Buddhist temples besides sculptures of both Hindu and Buddhist deities. About 300 bricks temples still survive ranging from seventh to fifteenth century in the central and southern parts of Vietnam. These temples are distinguished by the reliefs of terracotta and stone sculptures of Hindu and Buddhist gods and goddesses. A large number of them, now preserved in Danang Museum, reveal Gupta and post-Gupta art styles submerged by indigenous art idioms.
The Cham people cultivated Sanskrit language. Their mother tongue is a Cham language of Austronesian family. A large number of the inscriptions have been found in both Sanskrit and Cham language. The people of Champa were also fond of music. A number of musical instruments are depicted on the reliefs of the temples. Even today, at every religious and social ceremony, they use various musical instruments which are heavily influenced by the Indian, Khmers, and musical instruments of neighbouring areas.
The Cham civilization has been focus of studies and conferences in the field of history, language, religion, culture, art and architecture. However, its inner connections and its external relations have so far not been studied in depth. The International Conference on Cham Art Heritage of Vietnam: Ecological Cultural and Art Historical Traditions” has been planned to explore cultural interface which distinguishes Cham civilization. The proposed panels of the Conference are:
I. Polynesian, Indian and Indigenous context of Cham art.
II. Interface of Art and Ecology in Cham Art.
III. Connections of Cham art with Indian and South East Asian Art Styles.
IV. Cham Architecture and Its connection with India and South East Asia.
V. Chams Musical Instruments in the wider context of Indian and South East Asian Traditions.
VI. Any Research on Champa based on epigraphy and recent field work
“The Cham Art Heritage of Vietnam:
Ecological, Cultural and Art Historical Traditions”
25-26 April, 2014, at IGNCA, Janpath, New Delhi, India