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The art and architecture of Champa, an ancient linguistic and cultural civilization located in modern-day central and southern Vietnam, reflects an interregional artistic koine of Indic culture, a commonality of shared iconography, religion, and the sacred language of Sanskrit. Cham art is related to Hindu and Buddhist art from neighboring Cambodia and most of ancient Southeast Asia. Unique within Southeast Asian art, four extant colossal Cham pedestal-shrines are examined from four archaeological sites of My So n, Tra Kie u, ng Du o ng, and Va n Tra ch Ho a. What objects were placed on the pedestals is not known and interpretations of the imagery carved on the pedestal-shrines are still heavily debated. My dissertation attempts to clarify some of the arguments in current scholarship, holistically across the fields of art history, archaeology, and epigraphical studies, which have been independently analyzed and at times, contradictory. This dissertation explores artistic cultural exchanges and community interactions between Champa and neighboring regions through close analysis of Cham visual culture, including style, scale, iconographies, and patterns. I argue that although the independent entities of Champa were scattered across the coastal areas of modern-day southern Vietnam, the Chams were largely united as visible communities through the combination of colossal image making and written inscriptions. The Chams constructed temple, courtly, and local visual culture to gain economic and social status as itinerant seafarers and trade mediators in the international maritime network of Indian Ocean trade in the 9th-12th centuries. Visual culture became a strategy of economic, religious, and social power for the communities of the Chams.
The art of Champa (central and southern Vietnam) thrived from the 2nd to the 9th centuries. It consists chiefly of Hindi and Buddhist deities, carved in high relief from sandstone. This book describes some 100 major sculptures housed in the Da Nang Museum and also provides a historical overview.
The first report in this book offers an overview of Cham art with sixty-five photographs and an introductory text by the eminent French archaeologist Henri Parmentier. Originally published in 1922, this book remains one of the best introductions to the treasures preserved in the Tourane Museum in Danang. It features splendid photographs of Cham art discovered in the main areas of this long lost culture-Mi Son, Dong Duong, Khuong My, and Tra Kieu. The development of Cham art is sketched against the background of Annamese migration pushing the Cham people and their kingdom ever further south. The second part consists of two research reports. The first one by Paul Mus summarizes what is known about the religious practices of the Cham people and is based on artifacts and translated inscriptions. The author also reviews evidence from contemporary Cham culture. The religious inheritance of Champa is related to Vedic, Indian, Chinese, and Annamese forms of worship, and the significance of the Champa king as intermediary between the gods and the soil is also discussed. The second report by Étienne Aymonier contains an overview, dated 1884-85, of the religious practices, ceremonies related to veneration of divinities, marriage, birth, priesthood, death, agriculture, collection of eagle wood, and other customs of both groups of Chams, Muslims and non-Muslims, in Vietnam, and Chams in Cambodia.
In the 5th century, the Champa kingdom held sway over a large area of today’s Vietnam. Several magnificent structures still testify to their former presence in the Nha Trang region. Cham sculpture was worked in a variety of materials, principally sandstone, but also gold, silver and bronze. It was primarily used to illustrate themes from Indian mythology. The kingdom was gradually eroded during the 15th century by the inexorable descent of the people towards the south (“Nam Tiên”) from their original base in the Red River region. The author explores, describes, and comments on the various styles of Cham sculpture, drawing on a rich and, as yet, largely unpublished iconographic vein.
This catalogue assembles sumptuous photographs of the world's leading collection of Cham sculpture, along with the most recent insights of Vietnamese and international scholars. The Champa culture thrived in magnificent temples, sculpture, dance and music along the central and southern coast of today's Vietnam from the 5th to the 15th centuries. A focused exploration here uncovers this brilliant yet almost lost culture to newcomers as well as experts. To mark its centenary, the Da Nang Museum of Cham Sculpture has been expanded and refurbished to appropriately house the world's leading collection of Cham art. The museum staff, supported by the Southeast Asia art programme of the School of Oriental and African Studies (SoaS), London University, funded by the Alphawood Foundation, worked in concert with researchers from around the world to present these masterpieces.
The Cham people once inhabited and ruled over a large stretch of what is now the central Vietnamese coast. Written by specialists in history, archaeology, anthropology, art history, and linguistics, these essays reassess the ways that the Cham have been studied.
Developing a framework to study "what makes a region," Amitav Acharya investigates the origins and evolution of Southeast Asian regionalism and international relations. He views the Association of Southeast Asian Nations (ASEAN) "from the bottom up" as not only a U.S.-inspired ally in the Cold War struggle against communism but also an organization that reflects indigenous traditions. Although Acharya deploys the notion of "imagined community" to examine the changes, especially since the Cold War, in the significance of ASEAN dealings for a regional identity, he insists that "imagination" is itself not a neutral but rather a culturally variable concept. The regional imagination in Southeast Asia imagines a community of nations different from NAFTA or NATO, the OAU, or the European Union. In this new edition of a book first published as The Quest for Identity in 2000, Acharya updates developments in the region through the first decade of the new century: the aftermath of the financial crisis of 1997, security affairs after September 2001, the long-term impact of the 2004 tsunami, and the substantial changes wrought by the rise of China as a regional and global actor. Acharya argues in this important book for the crucial importance of regionalism in a different part of the world.