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EurAsian Matters: An Introduction

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EurAsian Matters

Abstract

“Art historians today tend to be divided between those who study what objects mean and those who study how objects are made.”

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Notes

  1. 1.

    Joseph L. Koerner, “Factura,” Res: Anthropology and Aesthetics 36 (1999): 5.

  2. 2.

    Lorraine Daston, ed., Things that Talk: Object Lessons from Art and Science (New York: Zone Books, 2004).

  3. 3.

    For a succinct overview, Victor Buchli, ed., The Material Culture Reader (Oxford: Berg, 2007), 1–22; A critical perspective for the art historian is proffered by Michael Yonan, “Towards a Fusion of Art History and Material Culture Studies,” West 86th 18, no. 2 (2011): 232–48; Jules D. Prown, Art as Evidence: Writings on Art and Material Culture (New Haven: Yale University Press, 2001); Steven Lubar and David Kingery, ed., History from Things: Essays on Material Culture (Washington DC: Smithsonian Institution Press, 1993); Ian Woodward, Understanding Material Culture (London: Sage, 2007); Daniel Miller, ed., Materiality (Durham: Duke University Press, 2005).

  4. 4.

    Igor Kopytoff, “The Cultural Biography of Things: Commoditization as Process,” in The Social Life of Things: Commodities in Cultural Perspective, ed. Arjun Appadurai (Cambridge: Cambridge University Press, 1986), 64–91; Richard H. Davis, Lives of Indian Images (Princeton: Princeton University Press, 1999); Nicholas Thomas, Entangled Objects: Exchange, Material Culture and Colonialism in the Pacific (Cambridge, Mass.: Harvard University Press, 1991); Alfred Gell, Art and Agency: An Anthropological Theory (Oxford: Clarendon Press, 1998); Annette B. Weiner, Inalienable Possessions: The Paradox of Keeping-While-Giving (Oakland: University of California Press, 1992).

  5. 5.

    To name only a few in a rapidly growing field, Paula Findlen, ed., Early Modern Things: Objects and their Histories (London: Routledge, 2013); Daniel Roche, A History of Everyday Things: The Birth of Consumption in France 1600–1800, trans. Brian Pearce (Cambridge: Cambridge University Press, 2000); Anne Gerritsen and Giorgio Riello, ed., The Global Lives of Things: The Material Culture of Connections in the Early Modern World (London: Routledge, 2015). On collecting: Daniela Bleichmar and Peter C. Mancall, ed., Collecting across Cultures: Material Exchanges in the Early Modern Atlantic World (Philadelphia: University of Pennsylvania Press, 2011). From an art historical perspective: Claire Farago, “On the Peripatetic Lives of Objects in the Era of Globalization,” in Cultural Contact and the Making of European Art since the Age of Exploration, ed. Mary D. Sheriff (Chapel Hill: University of North Carolina Press, 2011), 17–41; Neil MacGregor, A History of the World in 100 Objects: From the Handaxe to the Credit Card (New York: Viking, 2010); Eva R. Hoffmann, “Pathways of Portability: Islamic and Christian Interchange from the Tenth to the Twelfth Century,” in Late Antique and Medieval Art of the Mediterranean World, ed. Eva R. Hoffmann (Oxford: Blackwell, 2007), 317–49; Finbarr Barry Flood, Objects of Translation: Material Culture and “Hindu-Muslim” Encounter (Princeton: Princeton University Press, 2009); Catarina Schmidt-Arcangeli and Gerhard Wolf, ed., Islamic Artefacts in the Mediterranean World: Trade, Gift Exchange and Transfer (Venice: Marsilio, 2010); Christy Anderson, Anne Dunlop, and Pamela Smith, ed., The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750 (Manchester: Manchester University Press, 2015); Gerhard Wolf and Kathrin Müller, ed., Bild, Ding, Kunst (Berlin: Deutscher Kunstverlag, 2015).

  6. 6.

    Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010); Christopher Pinney, “Things Happen: Or from Which Moment Does that Object Come,” in Materiality, ed. Daniel Miller (Durham: Duke University Press, 2005), 266. Pinney goes so far as to designate materiality as a “figural excess” that resists assimilation in linguistic discourse.

  7. 7.

    Bruno Latour, We Have Never Been Modern (New York: Harvester Wheatsheaf, 1993), 88–9.

  8. 8.

    Bill Brown, “Thing Theory,” Critical Inquiry 28, no. 1 (2001): 1–22.

  9. 9.

    Brown, “Thing Theory,” 5.

  10. 10.

    See Gerhard Wolf, “Image, Object, Art: Talking to a Chinese Jar on Two Human Feet,” Representations 133 (2016): 152–9.

  11. 11.

    Latour, We Have Never been Modern, 3.

  12. 12.

    Avinoam Shalem, “Multivalent Paradigms of Interpretation and the Aura or Anima of the Object,” in Islamic Art and the Museum: Approaches to Art and Archaeology of the Muslim World in the Twenty-First Century, ed. Benoit Junot, Georges Khalil, Stefan Weber, and Gerhard Wolf (London: Saqi Books, 2012), 101–15.

  13. 13.

    Monica Juneja, “Global Art History and the ‘Burden of Representation’,” in Global Studies: Mapping Contemporary Art and Culture, ed. Hans Belting et al. (Stuttgart: Hatje Cantz, 2011), 285.

  14. 14.

    Terry Allen, Five Essays in Islamic Art (Sebastopol, Calif.: Solipsist Press, 1988), 108. Sabine du Crest has coined the term “objet-frontière” to describe these juxtapositions; see, Sabine Du Crest, L’Art de vivre ensemble: Objets frontière de la Renaissance au XXIe siècle (Rome: Gangemi editore, 2017).

  15. 15.

    Mikhail M. Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael Holquist (Austin: University of Texas Press, 1988), cited in Finbarr Barry Flood, Objects of Translation, 202.

  16. 16.

    The first term is borrowed from Thomas, Entangled Objects.

  17. 17.

    The findings of the research group “Global Jingdezhen: Local Manufactures and Early Modern Global Connections” (University of Warwick) published in the theme issue of the Journal of World History 23, no. 1 (2012) highlight the ways in which Chinese porcelain that was produced for foreign markets at the same time catered to imperial desires for the same objects, “connecting the imperial court and export audiences in a way that has never been done before.” See Anne Gerritsen and Stephen McDowall, “Global China: Material Culture and Connections in World History,” Journal of World History 23, no. 1 (2012): 6; in the same issue Ellen C. Huang, “From the Imperial Court to the International Art Market: Jingdezhen Porcelain Production as Global Visual Culture,” Journal of World History 23, no. 1 (2012): 115–45.

  18. 18.

    Annemarie Jordan Gschwend and Johannes Beltz, ed., Elfenbeine aus Ceylon: Luxusgüter für Katharina von Habsburg (1507–1578), exhibition catalogue (Zurich: Museum Rietberg Zurich, 2010), 64–7.

  19. 19.

    Michael Yonan, “Veneers of Authority: Chinese Lacquers in Maria Theresa’s Vienna,” Eighteenth Century Studies 37, no. 4 (2004): 657.

  20. 20.

    The literature produced by historians of culture on the uses and significance of items imported from afar is prolific. For the European context, see Maxine Berg and Helen Cliffords, ed., Consumers and Luxury: Consumer Culture in Europe 1650–1850 (Manchester: Manchester University Press, 1999); David Porter, The Chinese Taste in Eighteenth-Century England (Cambridge: Cambridge University Press, 2010). Similarly, for China, Craig Clunas has argued that consumption and collecting had by the late sixteenth century become an established path to elite status, see Craig Clunas, Superfluous Things: Material Culture and Social Status in Early Modern China (Cambridge: Polity Press, 1991).

  21. 21.

    Yonan, “Towards a Fusion,” 235; Glenn Adamson, Thinking through Craft (Oxford: Berg Publishers, 2007).

  22. 22.

    See for instance “V&A podcast: Salon III—Europe through non-European Eyes,” Victoria and Albert Museum, accessed July 19, 2016, http://www.vam.ac.uk/blog/creating-new-europe-1600-1800-galleries/va-podcast-salon-iii-europe-through-non-european-eyes.

  23. 23.

    George Kubler, “Style and Representation of Historical Time,” Annals of the New York Academy of Sciences 138, no. 2 (1967): 849–50.

  24. 24.

    Marta Ajmar, “The Renaissance in Material Culture: Material Mimesis as a Force and Evidence of Globalization,” in The Routledge Handbook of Archaeology and Globalization, ed. Tamar Hodos (London; New York: Routledge 2017), 681–2.

  25. 25.

    Geoffrey C. Gunn, “Mapping Eurasia,” in First Globalization: The Eurasian Exchange, 1500–1800, ed. Geoffrey C. Gunn (Lanham: Rowman & Littlefield, 2003), 113–44.

  26. 26.

    A recent example is Jan van Campen and E. Hartkamp-Jonxis, Asian Splendour: Company Art in the Rijksmuseum (Zutphen: Walburg, 2011). For a reassessment of the term chinoiserie, see Stacey Sloboda, “Introduction: Reassessing Chinoiserie,” in Chinoiserie: Commerce and Critical Ornament in Eighteenth-Century Britain, ed. Stacey Sloboda (Manchester: Manchester University Press, 2014), 1–17.

  27. 27.

    Européenerie is a term that has been used since the 1950s, while Jonathan Hay introduced “Euroiserie” as an alternative during the 1990s and Kristina Kleutghen suggested “Chinese Occidenterie” in an article of 2014, see Petra ten-Doesschate Chu and Ding Ning, “Introduction,” in Qing Encounters: Artistic Exchanges between China and the West, ed. Petra ten-Doesschate Chu and Ding Ning (Los Angeles: Getty Research Institute, 2015), 6, footnote 4, and Kristina Kleutghen, “Chinese Occidenterie: The Diversity of ‘Western’ Objects in Eighteenth-Century China,” Eighteenth-Century Studies 47, no. 2 (2014): 117–35.

  28. 28.

    Christopher Pinney, “Things Happen,” 266.

  29. 29.

    Orig. “Ubrigens nebst sonst gemelten Sachen werden alhier hochgeschätzet die Bättlesgader Arbeiten, so aus Elfenbein in runden Glässen eingeschlossen verfasset sein, wan sie sonst gutt undt fein gearbeitet sein.” Florian Bahr to Maria Theresia, Beijing, 15.11.1747, transcribed in Ronnie Po-chia Hsia, ed., Noble Patronage and Jesuit Missions: Maria Theresia von Fugger-Wellenburg (1600–1762) and Jesuit Missionaries in China and Vietnam (Rome: Institutum Historicum Societatis Iesu, 2006), 144–6, 145. Unless otherwise stated, all translations in this section are by Anna Grasskamp.

  30. 30.

    Orig. “4 künstlich aus Bein gemachte Berchtolsgadner Stückhlen mit gläsernen Kuglen, als eine rariteit.” List of objects that were sent to Ignaz Kögler in Beijing, 1745, Munich, Bayerisches Hauptstaatsarchiv, Jesuitica, Sign. 579/16. Reproduced as an illustration in Claudia von Collani, “Die Förderung der Jesuitenmission in China durch die bayerischen Herzöge und Kurfürsten,” in Die Wittelsbacher und das Reich der Mitte: 400 Jahre China und Bayern, exhibition catalogue, ed. Renate Eikelmann (Munich: Hirmer, 2009), 101.

  31. 31.

    Maria Theresia to Simon de La Tour, 2.5.1754, summarized in Hsia, Noble Patronage, 259.

  32. 32.

    Orig. “Bertolsgader sachlen.” Maria Theresia to Johannes Koffler in Cochinchina, 2.5.1754, transcribed in Hsia, Noble Patronage, 259–61, 260.

  33. 33.

    Orig. “Ach! wann ich etwas von so genannter Nuernberger=Waar aus Europa erhalten solte, wie wohl solten mir dergleichen Taendeleyen zu statten kommen!” Hieronymus Franchi to Johanes P. Studena, Beijing, 20.10.1707, Joseph Stöcklein et al., ed., Der Neue Welt-Bott mit allerhand nachrichten deren Missionarien Soc. Iesu: allerhand so lehr- als geist-reiche Briefschriften und Reis-Beschreibungen welche von denen Missionariis der Gesellschaft Jesu aus beijden Indien ... in Europa angelangt seynd, vol. 5, nr. 105 (Augsburg: Veith, 1726), 51, also cited by von Collani, “Förderung der Jesuitenmission,” 102.

  34. 34.

    Orig. “einem oder dem andern aus den königlichen Personen, welche alles, was man ihnen offeriret pflegen anzunehmen.” Florian Bahr to Maria Theresia, Beijing, 26.11.1751, transcribed in Hsia, Noble Patronage, 191–6, 192.

  35. 35.

    The illustrated example from the Dresden collections is complemented by another one from the collections of the Kunsthistorisches Museum in Vienna, first published in Hilda Lietzmann, Valentin Drausch und Herzog Wilhelm V. von Bayern: Ein Edelsteinschneider der Spätrenaissance und sein Auftraggeber (Berlin: Deutscher Kunstverlag, 1998), 40.

  36. 36.

    The crystal clock appears in a list of items sent to Cochinchina attached to a letter by Maria Theresia to Johannes Koffler in Cochinchina, 2.5.1754, summarized in Hsia, Noble Patronage, 260. On the order of a monstrance to be sent from Augsburg to China, see letter by Maria Theresia to Florian Bahr, Munich, 15.2.1761, transcribed in Hsia, Noble Patronage, 330–2, 331. A gift of “pretty relics encased in glass” (“schönen Reliquien in Glass eingefasset”) to a Jesuit bishop in China is mentioned in a letter by Florian Bahr to Maria Theresia, Beijing, 26.11.1751, transcribed in Hsia, Noble Patronage, 191–7, 192.

  37. 37.

    Svetlana Alpers, “The Museum as a Way of Seeing,” in Exhibiting Cultures: The Poetics and Politics of Museum Display, ed. Ivan Karp and Steven D. Lavine (Washington DC: Smithsonian Books, 1991), 25–32.

  38. 38.

    Already in the collections of the Augsburg-based merchant Octavian Fugger in 1600–1601 we encounter three coral fragments “enclosed in glass cases,” one of them staged in a “rectangular glass box, made for a coral sprig.” In this case, fragments of nature were re-staged underneath special shells of glass, which were meant to protect them while simultaneously drawing the beholder’s gaze towards pieces singled out as worthy of aesthetic appreciation. Inventory of the Collections by Augsburg Merchant Octavian Fugger, provided with an extensive commentary by Norbert Lieb, transcribed and published as “Nachlaßinventar des Octavian Secundus Fugger (1549–1600), 1600–1601,” in Octavian Secundus Fugger (1549–1600) und die Kunst, ed. Norbert Lieb (Tübingen: Mohr, 1980), 232–310, 256, 285, 296, item 571, item 1441.

  39. 39.

    Liu Lihong, “Vitreous Views: Materiality and Mediality of Glass in Qing China through a Transcultural Prism,” Getty Research Journal 8 (2016): 17–38.

  40. 40.

    Liu, “Vitreous Views.”

  41. 41.

    Jonathan Hay, Sensuous Surfaces: The Decorative Object in Early Modern China (London: Reaktion Books, 2010).

  42. 42.

    Emily Byrne Curtis, Glass Exchange between Europe and China, 1550–1800 (Farnham: Ashgate, 2009). Yang Boda, “A Brief Account of Qing Dynasty Glass,” in The Robert H. Clague Collection: Chinese Glass of the Qing Dynasty, 1644–1911, exhibition catalogue, ed. Claudia Brown and Donald Rabiner (Phoenix: Phoenix Art Museum, 1987), 71–86.

  43. 43.

    Anne Gerritsen and Stephen McDowall, “Material Culture and the Other: European Encounters with Chinese Porcelain,” Journal of World History 23, no. 1 (2012): 87–113.

  44. 44.

    See the essay by Dawn Odell in the present volume.

  45. 45.

    Ibid.

  46. 46.

    Vimalin Rujivacharakul, “China and china: An Introduction to Materiality and a History of Collecting,” in Collecting China: The World, China, and a History of Collecting, ed. Vimalin Rujivacharakul (Newark: University of Delaware, 2011), 16.

  47. 47.

    Louise Tythacott, The Lives of Chinese Objects: Buddhism, Imperialism and Display (New York; Oxford: Berghahn, 2011).

  48. 48.

    Kopytoff, “Cultural Biography of Things.”

  49. 49.

    Gerritsen and Riello, Global Lives of Things.

  50. 50.

    Bennett, Vibrant Matter.

  51. 51.

    Stacey Pierson, “The Movement of Chinese Ceramics: Appropriation in Global History,” Journal of World History 23, no. 1 (2012): 9–39.

  52. 52.

    For an in-depth discussion of a number of examples, see Anna Grasskamp, “EurAsian Layers: Netherlandish Surfaces and Early Modern Chinese Artefacts,” Rijksmuseum Bulletin 63, no. 4 (2015): 363–98.

  53. 53.

    Che-bing Chiu, “Vegetal Travel: Western European Plants in the Garden of the Emperor of China,” in Qing Encounters: Artistic Exchanges between China and the West, ed. Petra ten-Doesschate Chu and Ding Ning (Los Angeles: Getty Research Insitute, 2015), 95–110; and Yuen Lai Winnie Chang, “Nineteenth-Century Canton Gardens and the East-West Plant Trade,” in Qing Encounters: Artistic Exchanges between China and the West, ed. Petra ten-Doesschate Chu and Ding Ning (Los Angeles: Getty Research Institute, 2015), 111–23.

  54. 54.

    Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Baltimore: Johns Hopkins University Press, 1984).

  55. 55.

    A question recently posed by Wang Cheng-hua in an article surveying the field: Cheng-hua Wang, “Whither Art History? A Global Perspective on Eighteenth-Century Chinese Art and Visual Culture,” The Art Bulletin 96, no. 4 (2014): 379–94.

  56. 56.

    Guo Hui, “Writing Chinese Art History in Early Twentieth-Century China” (PhD diss., Leiden University, 2010), 165f, based on Na Zhiliang 那志良 and Shang Yan 庄严, “Zao guonan yu zhan guobao—1935 nian Lundun yizhan qinli 遭国难与展国宝—1935 年伦敦艺展親历 (Encountering National Calamity and Exhibiting National Treasures—Personal Experiences of the 1935 London Exhibition),” Zijincheng 146, no. 3 (2007): 32–52.

  57. 57.

    Guo, “Writing Chinese Art History,” 165f.

  58. 58.

    Secondary literature on Sino-European objects focuses on specific types or groups of objects. In addition to the previously cited work on glass, collectible scientific objects, including mechanical clocks and astronomical instruments, have been researched extensively Chu Ping-yi 祝平一, Benjamin Elman, Noël Golvers, Nicole Halsberghe, Han Qi 韓琦, Catherine Jami, Joseph Needham, Catherine Pagani, Joanna Waley-Cohen, Zhang Baichun 張柏春, Zhang Pu 張普 together with Guo Fuxiang 郭福祥 and others. Jesuit influences on enamel glaze and enamelware production in China have been studied by Rose Kerr and Ching-fei Shih 施靜菲 among others. Ching-fei Shih has published extensively on carved ivory works in China from a transcultural perspective. Studies on Sino-European designs on ceramics form an immense body of literature, mainly focusing on Chinese ceramics collected in Europe, for example kraak porcelain. Yet Sino-European wares made for the emperor of China, have received recent scholarly attention as well, see Yu Pei-chin 余佩瑾, “Lang Shining yu ciqi 郎世寧與瓷器 (Giuseppe Castiglione and Porcelains),” Gugong xueshu jikan 32, no. 2 (2014): 1–37. The body of art historical literature on printed imagery produced in collaboration between Jesuits and Chinese agents is vast. A general overview is presented by Marcia Reed and Paola Demattè, China on Paper: European and Chinese Works from the Late Sixteenth to the Early Nineteenth Century (Los Angeles: Getty Publications, 2007). A recent but not comprehensive overview of secondary literature that specifically addresses Flemish Jesuits or prints designed or printed in Belgium and the Netherlands appears in Grasskamp, “EurAsian Layers,” 394, endnote 16. Seminal studies on Sino-European print culture have also been compiled by scholars outside of the field of art history, specialists in Jesuit studies (most importantly Nicholas Standaert) as well as historians of science (most recently Tian Miao 田淼 and Zhang Baichun 張柏春).

  59. 59.

    See, for example, Michael North and Thomas DaCosta Kaufmann, ed., Mediating Netherlandish Art and Material Culture in Asia (Amsterdam: Amsterdam University Press, 2014).

  60. 60.

    For extensive bibliographic references to writings in this field, see Wang, “Whither Art History.” For the most recent English language monograph on Italian painters at the Qing court, also see Marco Musillo, The Shining Inheritance: Italian Painters and the Qing Court, 1699–1812 (Los Angeles: Getty Publications, 2016).

  61. 61.

    Clunas, Superfluous Things.

  62. 62.

    Craig Clunas, Empire of Great Brightness: Visual and Material Cultures of Ming China, 1368–1644 (London: Reaktion Books, 2007).

  63. 63.

    Lothar Ledderose, Ten Thousand Things: Module and Mass Production in Chinese Art (Princeton: Princeton University Press, 2000).

  64. 64.

    Michael North, ed., Artistic and Cultural Exchanges between Europe and Asia, 1400–1900 (Farnham: Ashgate, 2010); Rui Oliveira Lopes, ed., Face to Face: The Transcendence of the Arts in China and Beyond (Lisbon: University of Lisbon, 2014); ten-Doesschate Chu and Ding Ning, Qing Encounters.

  65. 65.

    Henrik Budde et al., ed., Europa und die Kaiser von China, 1240–1816, exhibition catalogue, Martin-Gropius-Bau (Frankfurt a.M.: Insel-Verlag, 1985); Anna Jackson and Amin Jaffer, ed., Encounters: The Meeting of Asia and Europe 1500–1800 (London: Victoria and Albert Museum, 2004), in particular the contribution by Ming Wilson, “Chinese Fantasies of Europe,” in Encounters: The Meeting of Asia and Europe 1500–1800, ed. Anna Jackson and Amin Jaffer (London: Victoria and Albert Museum, 2004), 338–47; Ole Villumsen Krog and Christiansborg Palace, ed., Treasures from Imperial China: The Forbidden City and the Royal Danish Court (Skatte fra kejserens Kina: den Forbudte By og det danske kongehus), exhibition catalogue (Copenhagen: Royal Silver Vault, 2006); Michael Kraus and Hans Ottomeyer, ed., NOVOS MUNDOS—NEUE WELTEN: Portugal und das Zeitalter der Entdeckungen, exhibition catalogue (Berlin; Dresden: Sandstein, 2007); Cordula Bischoff and Anne Hennings, ed., Goldener Drache—Weißer Adler: Kunst im Dienste der Macht am Kaiserhof von China und am sächsisch-polnischen Hof (1644–1795), exhibition catalogue (Munich: Staatliche Kunstsammlungen Dresden, 2008); Renate Eikelmann, ed., Die Wittelsbacher und das Reich der Mitte: 400 Jahre China und Bayern, exhibition catalogue, Bayerisches Nationalmuseum (Munich: Hirmer, 2009); Karina H. Corrigan and Jan van Campen, ed., Asia in Amsterdam: The Culture of Luxury in the Golden Age, exhibition catalogue (Salem, Mass.: Peabody Essex Museum, 2015).

  66. 66.

    The past decade has brought forth exhibitions that, though not exclusively dedicated to Sino-European or inner-Asian exchanges in art, have incorporated transcultural displays; prominent among these are the British Museum’s China: The Three Emperors, 1662–1795 from 2005–2006, and Ming: 50 Years that changed China from 2014–2015. Transcultural object displays feature in the permanent collections of museums such as the Ashmolean Museum in Oxford and the Palace Museum in Taipei. Innumerable museums of “applied art” (angewandte Kunst) such as the Museum für angewandte Kunst Vienna or the Museum Angewandte Kunst in Frankfurt am Main, to mention only two examples, offer a rich body of materials for scholarship on transcultural object histories.

  67. 67.

    John Onians, ed., Atlas of World Art (London: Laurence King Publishing, 2004); Thomas DaCosta Kaufmann, Toward a Geography of Art (Chicago: University of Chicago Press, 2004); James Elkins, ed., Is Art History Global? (London: Routledge, 2007); Wilfried van Damme and Kitty Zijlmans, ed., World Art Studies: Exploring Concepts and Approaches (Amsterdam: Valiz 2008); Monica Juneja, “Kunstgeschichte und kulturelle Differenz: Eine Einleitung,” Kritische Berichte 2 (2012): 6–12. See also, Monica Juneja, “‘A very civil idea’... : Art History and World-Making—with and beyond the Nation,” in Engaging Transculturality: Concepts, Key Terms and Case Studies, ed. Laila Abu-er-Rub et al., (London: Routledge 2018 forthcoming); Juneja, “Global Art History,” and Monica Juneja, Can Art History be made Global? A Discipline in Transition (forthcoming).

  68. 68.

    Claire Farago, “Understanding Visuality,” in Seeing across Cultures in the Early Modern World, ed. Dana Leibsohn and Jeanette F. Peterson (Farnham: Ashgate, 2012), 244.

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  1. Global Art History, University of Heidelberg, Heidelberg, Germany

    Monica Juneja

  2. Academy of Visual Arts, Hong Kong Baptist University, Kowloon Tong, Hong Kong

    Anna Grasskamp

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    Anna Grasskamp

  2. Cluster of Excellence Asia & Europe in a Global Context, Heidelberg University, Heidelberg, Germany

    Monica Juneja

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Juneja, M., Grasskamp, A. (2018). EurAsian Matters: An Introduction. In: Grasskamp, A., Juneja, M. (eds) EurAsian Matters. Transcultural Research – Heidelberg Studies on Asia and Europe in a Global Context. Springer, Cham. https://doi.org/10.1007/978-3-319-75641-7_1

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