“The Painter in Two Frames”: An Archaeological Investigation of Kamal-ol Molk’s Agency in the Field of Art and Politics

An agent’s actions in different fields and its changes can leave material traces. Therefore, archaeology in its broadest methodological meaning surveys material culture and seeks to investigate an agent’s action in a process. Our archaeological excavation in Neshat Garden led to the discovery of material traces of lifestyle changes of a well-known agent from the late Qajar/early Pahlavi era. Mohammad-e Qafari, nicknamed Kamal-ol Molk, was a famous painter of the Qajar court. He left the court in middle age and entered politics as an agent of opposition. Kamal’s journey to Europe was a turning point that extended to the end of his life. At the same time, Iran’s sociopolitical context experienced significant evolution, including the Mashroute Movement and the rise of Pahlavi dynasty to power. Such mutations made Kamal-ol Molk abandon/change his activities in the field of art, sponsored by the power structure, to engage in political activity. His exile/compulsory migration to a faraway village in northeastern Iran is the outcome of his political activities. The present research is based on archaeological surveys and excavations in two sites: Kamal-ol Molk’s house and Neshat Garden. The archaeological investigation of Kamal’s life in context, his paintings, letters, and photos as a long-term process reveals an artist who was also political. His agency in politics was so effective that in order for the “holy honorable party” to survive, he sometimes ordered assassinations.     

The Military of Qajar Iran: The Features of an Irregular Army from the Eighteenth to the Early Twentieth Century

The article examines the parameters of the irregular army in Qajar Iran, including its assembly, numbers, and provisions, as well as the army's organizational structure: its administration and the divisions of the ad hoc forces (provincial militia and tribal cavalry) and of the standing forces (the shah's bodyguard and artillery corps). Until the creation of the so-called regular army units in Iran at the beginning of the nineteenth century, the irregular army was regarded as the only military force in the service of the Qajar dynasty. Despite the existence of a “regular army,” irregular forces, particularly tribal cavalry, continued to play a significant role in Iran's military system throughout the nineteenth century. By understanding the features of the irregular army—its role in Qajar society, its organizational and social structures, its ethnic composition, and other characteristics—we can better understand the character of the state itself.     

试论虚谷绘画风格的形成和发展

虚谷是晚清“海派”名家之一,以其冷隽奇峭的画风震人心弦。本通过对其人生过程的梳理,分析和论述了他的思想、心态及审美追求对其画风形成发展的影响和作用。     

Rethinking Idris-i Bidlisi: An Iranian Bureaucrat and Historian between the Shah and the Sultan

A bureaucrat and historian of Iranian origin, Idris-i Bidlisi (b. Ray/Iran 1457–d. Istanbul 1520), is undoubtedly one of the most original and important intellectual figures in the Ottoman?Iranian borderland in the sixteenth century. He lived in a very turbulent period and established different relationships with Iranian and Ottoman dynasties at the end of the fifteenth century and at the beginning of the sixteenth century. He and his works have been the focus of long-standing historical debates in Turkey that have continued to the present day. Until now, most modern scholarly works on Bidlisi have failed to provide a proper, in-depth textual and historical analysis. As a result, such modern works have come to present a skewed, romanticized image of Bidlisi, largely detached from the nature and dynamics of the historical context in which Bidlisi lived and evolved as an intellectual and writer. This paper provides a realistic appraisal of Bidlisi and discusses the shortcomings of modern historiography on him. By looking at Bidlisi and his corpus, and more specifically at the ways in which the latter was shaped by Bidlisi’s patronage relationships, the paper aims to open up a window into Bidlisi’s evolving mindset and worldview. In other words, through an in-depth analysis of his corpus and new archival sources the paper strives to unveil the intellectual life and career of an Iranian bureaucrat and historian positioned between Ottoman?Iranian borderland and provide a glimpse into the nature of patronage in the sixteenth century.     

成也萧何 败也萧何——解读盛懋及其绘画

Sheng Mao was an important landscape painter in the late period of Yuan Dynasty, learning from Dong and Ju. His style was minute and delicate, gaining great reputation at that time. However, his position was shaken since four maters of Yuan Dynasty grew up later. Anyway he is a great painter with unique style. The author draws an instructive opinion on his painting.     

A List of Carian Orientalizing Pottery

This paper lists over a hundred Carian pots. It is suggested that in Caria, Subgeometric was dominant till about the end of the seventh century BC, that a tentative Wild Goat style emerged towards the end of that century, that about the 570s the Bochum painter established a coherent version of that style and eventually experimented with the Fikellura style, and that his successors relapsed into incoherence.     

A CARIAN WILD GOAT WORKSHOP

Summary: A number of Carian pots from the neighbourhood of Mylasa are attributed to one painter and his workshop. Their decoration is in a Wild Goat style and, presumably later, a Fikellura style. Their date therefore can hardly be earlier than the second quarter of the sixth century. Miletus was the leading producer of Wild Goat pottery in the seventh century and of Fikellura from the mid sixth, and it was the nearest important Greek city to Mylasa. Since the painter's predecessors and he himself in his Fikellura work used Milesian models, it is likely that he had Milesian models too for his Wild Goat style (which is not North Ionian). This implies that a Middle Wild Goat style survived at Miletus into the second quarter of the sixth century, when it was succeeded by Fikellura.     

‘The Gospel of Health’: American Missionaries and the Transformation of Ottoman/Turkish Women's Bodies, 1890–1932

This article explores an overlooked aspect of American missionary modernisation efforts in the late Ottoman Empire: the attempted transformation of women's bodies. By the late nineteenth century, American missionary women and Ottoman government officials both viewed Ottoman women's bodies as a visible reflection of the empire's weaknesses, yet also as central to its survival and revival. The transformation of women's bodies from ‘uncontrolled’ to ‘robust’, they believed, was a prerequisite for a modern society. Through a close reading of missionary reports, correspondences and student memoirs, this study traces the development of physical education, hygiene and recreational sports at the missionary‐run American College for Girls (ACG) in Istanbul. Over time, the female teachers at the ACG partnered and collaborated with male Ottoman/Turkish government officials to implement these courses at girls’ schools across the region. While the government endorsed physical education as key to national progress and regeneration, the ACG educators framed it as a mode of international, feminist self‐empowerment. In reality, the missionaries continued to assert their own Western superiority and advance Orientalist notions through the education courses. By highlighting the shifts in women's body ideals, curricular development and nationalist rhetoric, I argue that women's bodies must be studied as a crucial site of missionary and republican reform.     

Portraits of the garçonne as artist: gender and creativity in French fiction of the années folles

This article examines a series of popular and middlebrow works of fiction from the 1920s that represent the garçonne (the flapper, or androgynous, emancipated young woman) as artist. Challenging the popular view of the années folles as a period of relatively relaxed social conventions and gender norms, it shows that far from embracing female creativity, the authors of the period took pains to link it to moral and aesthetic deviance. Having considered what the representation of female creativity in novels by Berthe Bernage, Victor Margueritte and Marcel Prévost can tell us about gender in the 1920s, I go on to examine novels by the art critics André Warnod and François Fosca, who use the figure of the garçonne as artist to air art-critical positions about the modernist art produced in Montparnasse, especially by members of the École de Paris. Whereas Warnod represents his female artist as a victim of a modernism linked with the foreign and the ‘primitive,’ in Fosca’s novel the female painter is a more threatening figure: an agent of a modernism whose attacks on the female body (in the form of the conventional academic nude) are in turn echoed in a broader ‘troubling’ of gendered and aesthetic categories.     

Everyday Life in Late Qajar Iran

The social history of Iran in general and that of the Qajar era in particular, has been little studied. The subject of this paper, private life in the late Qajar period, has barely been touched upon, probably because it is a subject on which there is not much primary material. There are no comprehensive accounts of people's daily lives of any class or occupation. In this article an attempt is made to give an account of the daily domestic life and activities of the household in the Qajar period. As there were major differences between the daily life and households of urban and rural areas, the discussion is limited to urban areas and Shi'i households. The article discusses the roles of the various members of the household as well as the consumption patterns of the family and those from inside or outside the household who catered to its needs.     

Hikma muta‘aliya in Qajar Iran: Locating the Life and Work of Mulla Hadi Sabzawari (d. 1289/1873)

The Qajar period witnessed a revival of traditional Islamic philosophy based on the philosophical method of the Safavid sage Mulla Sadra Shirazi. This was philosophy as a way of life, an ethical commitment born of a method that combined both rational discourse and mystical intuition, deployed to defend the intellectual and cultural norms of the old learning against the new European inspired centers in Qajar Iran. A prominent figure in this process of revival was Mulla Hadi Sabzavari, who trained in the seminaries of Mashhad and Isfahan and became the most famous teacher of the works of Mulla Sadra and of philosophy in the second half of the nineteenth century. This paper examines his life and intellectual and pedagogical contribution, and traces some lines of his impact on seminarian philosophy into the twentieth century through the many students who came to study with him in his hometown, including his influence on modern trends within Shi‘i jurisprudence and legal theory.     

Claude Lévi‐Strauss (1908–2009): The apotheosis of heroic anthropology (Respond to this article at http://www.therai.org.uk/at/debate)

Claude Lévi‐Strauss is one of the greatest interdisciplinary writers of the twentieth century whose influence extends far beyond his own discipline of social anthropology. His inquiry illuminates the borderlands between ‘primitive’ and non‐primitive, self and other, myth and history, human and animal, art and nature, and the dichotomies that give structure to culture, society, history and agency. This commemorative article of his legacy assesses disciplinary and interdisciplinary debates influenced by Levi‐Strauss's inquiry and methods, and looks at potential challenges for the future. Lévi‐Strauss's ideas continue to be influential in our assessments of what we mean by culture, values, social organization, including social transformations and cultural ideologies such as ethnocentrism, nationalism, fundamentalism, pluralism, neo‐liberalism, post‐modernism, relativism, humanism and universalism.     

Sex,Fashion, Work: James Joyce and the Late-Victorian Actress

This article considers the presence of three late-Victorian actresses (Mrs Patrick Campbell, Eleonora Duse, and Sarah Bernhardt) in the work of James Joyce. The first appears in Joyce’s short story ‘A Mother’ (Dubliners). The strong influence of the other two is also detectable in the characterization of Ulysses’ heroines, Gerty MacDowell and Molly Bloom, and in a seminal text of late modernism, Finnegans Wake. In ‘A Mother’, Joyce’s attention to the importance of fashion on the stage and to poor working conditions for female performers calls to mind the career of Mrs Patrick Campbell. In Ulysses, Gerty’s performance in ‘Nausicaa’ recalls the techniques of the Ibsenian actress Eleonora Duse, known especially for her blushing; I argue that, given this famous skill and Joyce’s fascination with her, Duse directly informs Gerty’s characterization. Finally, Molly Bloom’s repertoire of dramatic references, including Trilby, Lillie Langtry, Sarah Bernhardt, publicity photographs, and Pineroticism, suggests Joyce’s immersion in a late-Victorian dramatic world. After sketching these connections in detail, I show that his interest in these actresses encourages scholars to continue to question the validity of traditional periodization boundaries. I end by arguing that the appearance of these actresses in these examples of early, high, and late modernism indicates the cultural richness of the long nineteenth century for Joyce, which continues throughout modernism’s successive phases.     

柯九思墨竹艺术论

本文介绍了元代中期墨竹画家柯九思的绘画艺术，并就其艺术师承、绘画风格以及与同期画家墨竹风格的比较进行了分析，对柯氏的艺术风貌作了较为全面系统的评介。     

Restaging Time: Photography,Performance and Anachronism in Shadi Ghadirian's Qajar Series

This paper looks at a group of photographs entitled Qajar Series (1998) by artist Shadi Ghadirian. Ghadirian recreates sets to look like those used in photographic portraits taken during the late nineteenth and early twentieth century of the Qajar dynasty period and dresses her female sitters in costumes reminiscent of clothes from the era. The artist also integrates contemporary objects that do not fit within the historical setting created for the camera. This essay examines how the artist uses performance to stage this anachronism and think critically about temporal discourses and their links to the categories of modernity and tradition.     

传杨邦基《聘金图》的创作背景和辱宋寓意

美国大都会博物馆所藏《聘金图》卷无标题及画家款识,虽然学界一般认为是描绘宋金交聘的历史政治画,但作者和画意并无定论。本文根据画中山水风格和人物服饰、宋金交聘礼仪和使节往返路线,以及当时社会政治环境,论证此画可能为仕金汉人杨邦基(约1110-1181)为金主海陵王(1149-1161年在位)所创作,时间为1150年代晚期。其创作目的是借南宋国使在金境备受轻慢的现象写宋廷之不堪,默许海陵统一中国的野心和女真政权在中国历史上的正统性。该画在以宣扬国威、中兴为主旨的历史政治画传统中地位独特。     

In search of the physical: George Adam Smith's journeys to palestine and their importance

By any standard, George Adam Smith's was a remarkable career. Having established a reputation for himself as the first minister of a new congregation of the Free Church of Scotland in the west of Aberdeen, where he consolidated his liberal evangelical pulpit between 1882 and 1892, Smith went on to become a foremost Old Testament scholar in the Free Church College in Glasgow (1892-1910) and Principal of Aberdeen University (1910-1935). More than one student of the period has linked his name with that of A.B. Davidson and W.R. Smith, succeeding them as one of Scotland's leading Old Testament scholars in the late nineteenth and early twentieth centuries.     

李流芳生平交游考略

李流芳为明未著名的文人画家,他不仅在绘画上取得了很大的成就,且诗文、书法、印章均擅,是一位具有多方面才能的艺术家。李流芳早年热心干科举,曾六次进京会试,但均铩羽而归。他晚年醉心于山水,和一些志同道合的友人浪迹江湖,创作了不少山水画佳作。由于李本人无画学专著,且诗文书画又散佚较多,故本文试图通过著录文献及其诗友的文集大致梳理出其生平及交游的情况。