Pennsylvania Academy of the Fine Arts

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Research Article| May 01 2003 Johannesburg: In and Out of the Museum: The Joubert Park Project, 2000–2001 Pamela Allara Pamela Allara Pamela Allara is an associate professor in the Department of Fine Arts, Brandeis University. Search for other works by this author on: This Site Google Nka (2003) 2003 (18): 28–33. https://doi.org/10.1215/10757163-18-1-28 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Pamela Allara; Johannesburg: In and Out of the Museum: The Joubert Park Project, 2000–2001. Nka 1 May 2003; 2003 (18): 28–33. doi: https://doi.org/10.1215/10757163-18-1-28 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsNka Search Advanced Search The text of this article is only available as a PDF. Copyright © 2003 Nka: Journal of Contemporary African Art2003 Article PDF first page preview Close Modal You do not currently have access to this content.

wear the U-shaped line, which is sometimes crossed by three horizontal lines.A failure to note this point precisely has sometimes led to wrong interpretation; for example, it is clear that the king's attendants were male, not female as has been said.®There are occasional exceptions to the general practice of forehead marking, as when King Siddhartha wears the tilaka (fig.34).Monks have no forehead mark at all, or else wear the tilaka; Tirthankaras have either the tilaka or the U-sign.Nuns seem to bear no forehead mark, but they can always be distinguished from monks by the treatment of the robe, which covers the whole body and extends up behind the neck and head, while with monks it leaves one shoulder bare and stops at the neck.Lay- women regularly wear a bodice.Men, like women, have long hair.( See fig.40. )The manuscripts from which I have drawn my illustrations are 14 in number, all paper, of which the oldest (Hf) is dated = A. D. 1460, and the next oldest (M 18. 104) is dated = A.D. 1462.^Fromsome I have selected many paintings; from others only a few.In giving citations I indicate the manuscript, the folio number, and the side of the folio, whether recto (r) or verso (v).

IN America the French art of the old régime has suffered from a prejudice—even from many prejudices. To the Puritan and the Quaker the very word French evoked a furtive shudder. To the professional evangelist, setting down the cathedral builders as deluded Papists, and thinking of Voltaire and Rousseau, it connoted atheism and impiety. By the professional Anglo-Saxon, maintaining contrary to truth, that the French had no word for “home,” French styles were conceived as formal and inhospitable. By the professional patriot and democrat the old French monarchy was conceived as the antithesis of liberty and its works the effete product of a corrupt and frivolous society. By the professional romanticist of the nineteenth century, like Ruskin, the “foul torrent of the Renaissance,” as he called it, was thought to have submerged France particularly, reducing its art to the confections of a pastry-cook.

Foremost among the interiors planned for the Chinese section of the New Pennsylvania Museum is a great palace hall from Peking, dating from the early seventeenth century. The particular value of this superb room is that it will constitute a splendid setting for the great collection of Chinese paintings that has recently come to the Museum, both the collection and the hall having been given through the generosity of Edward B. Robinette. This important group of pictures, numbering over three hundred and ranging in date from the ninth to the eighteenth century, comprise what may justly be considered one of the greatest single collections of Chinese painting in existence, an acquisition at this time all the more important for Philadelphia since fine Chinese paintings of past dynasties, always limited in number, have in the last few years become so scarce that there are few in the Orient and only rarely do they come upon the markets in the Occident. It is hardly an exaggeration to say that it would today be impossible to gather so large a collection of such excellent quality, no matter what price was offered to accomplish the task. Its acquisition was, therefore, a very happy one for the Museum and at one stroke it places the collections of Chinese paintings in Philadelphia on a level with the great collection of the Boston Museum (which is larger, but only here and there finer), and considerably ahead of other museums in America, with those of Europe and the Orient left quite behind.