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From 12 October 2005 to 9 January 2006, the Musee Guimet in Paris will play host to an exceptional exhibition: 'Treasures of Vietnamese Art... Champa Sculpture'. This show will bring together for the firt time, outstanding pieces from the Musee Guimet, the National Museums of France and the national Vietnamese museums of Da Nang and Ho Chi Minh (formerly Saigon). The discretion of private collectors has meant that, until now, much of the wealth of this great Asian art form has remained relatively unknown but this show also includes several truly exceptional pieces from private collections, hitherto inaccessible to both the public and most curators. Jean-Franois Hubert, an international expert on Vietnamese art, has succeeding in creating a unique artistic opportunity. 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 created from a variety of materials, principally sandstone, but also gold, silver and bronze, and primarily illustrated themes from Indian mythology. The kingdom was gradually eroded during the 15th century by the irresistible descent of the people towards the south ("Nam Tien") from their original base in the Red River region. The author explores, describes and comments on the various styles of Cham sculpure, drawing on in a rich and, as yet largely unpublished, iconographic vein.
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.
The kings of ancient Champa, a civilization located in the central region of today's Vietnam, started building sacred temples in a circular valley more than 1500 years ago. The monuments, now known by the Vietnamese name M? So'n, were discovered by nineteenth-century colonial soldiers and first studied by the French architect Henri Parmentier. Bombed during the Vietnam War, the ruins of the brick towers, decorated with exquisite carvings and sculptures, were designated as a UNESCO World Cultural Heritage site in 1999. An Italian team has worked at the site for the last ten years, doing archaeological research and restoration work in cooperation with Vietnamese specialists. This book is the first published volume based on their efforts. The opening section consists of historical, anthropological and architectural studies of the civilization of Champa. The remainder of the book presents an unusually intimate and extensively illustrated portrait of the archaeologists' research and restoration work at M? So'n. While this book is important for specialists and students of the history and archaeology of Champa and Southeast Asia, it also tells a fascinating story that will appeal to general readers and visitors to this exceptional archaeological site.
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 kingdom of Champa, which flourished from the second to the nineteenth centuries, is by far the least-known of all the great Indianized civilizations of Southeast Asia. Its own history was violent and ultimately tragic, and, as it covered large areas of what is now central and southern Vietnam, access to the region has been difficult for most of the last sixty years. Hindu-Buddhist Art of Vietnamis the first substantial book in English on the art of this remarkable and distinctive civilization. It first provides an overview of Cham history, including references to the many influences from neighboring civilizations that shaped it, including Khmer, Javanese, Srivijaya, Dvaravati, and Chinese. It goes on to illustrate and describe more than a hundred major sculptures at present housed in the National Museum at Dà Nang. Cham art is unmistakable and individualistic, vigorous and even dramatic in its rendering of movement. Mostly carved in sandstone and in high relief, the sculptures represent the main Hindu and Buddhist deities, real and fabulous animals in combative poses, and flying celestial beings and dancers. Richly illustrated with views of the monuments and the superb countryside in which they were built, this book brings to life a brilliant civilization.
A driving, panoramic novel of four strangers whose personal struggles with grief become interconnected through their quest to reunite the body and engine of a vintage car.
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.
A fifteen-year-old widow runs across a bridge to catch a train bound for Trichi. Sowmya is running away to make sense of the events that had seized her body and her mind, and had ripped apart her world. She is determined to flee her destiny of numbing isolation within her community, the Brahmins of the Thanjavur district in South India. Her plans pivot when she meets a devadasi--an aging dancer--in her compartment. When the woman Mallika opens her drawstring bag and buys Sowmya her dinner, Sowmya recognizes what she needs to overcome her own condition, that of a young woman in possession of a thin cotton sari, a head shorn clean, and little else. She asks Mallika how she too can achieve that kind of power--the power to open a bag and pull out money. Thus begins Sowmya's transformation in the city by the sea, Madras, which is in the grip of its own political and social changes while India is struggling to seize its independence from the imperial British raj. Here she learns the beauty of dance from Mallika, and the sweetness and agony of falling in love with a married man. The cinema brings unimagined opportunities and all the power and riches that she could desire, but it also consumes her relentlessly. When a letter arrives, Sowmya begins her quest to regain everything that had been lost when she once lived in that small village tucked into a little bend of the Kaveri River. Hear Champa Bilwakesh reading from Desire of the Moth here: http://voicethread.com/myvoice/#thread/5863247/30058528/31699244