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Citing Angkor: The "Cambodian arts"...

Muan, Ingrid.

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Citing Angkor: The "Cambodian arts" in the age of restoration, 1918--2000.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Citing Angkor: The "Cambodian arts" in the age of restoration, 1918--2000./
作者:	Muan, Ingrid.
面頁冊數:	499 p.
附註:	Adviser: Keith Moxey.
Contained By:	Dissertation Abstracts International62-02A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3005763
ISBN:	9780493153186

Citing Angkor: The "Cambodian arts" in the age of restoration, 1918--2000.
Muan, Ingrid.

Citing Angkor: The "Cambodian arts" in the age of restoration, 1918--2000. - 499 p.

Adviser: Keith Moxey.

Thesis (Ph.D.)--Columbia University, 2001.

This thesis presents a survey of art training and visual production in Cambodia from the beginning of the 20th century to the present. The thesis begins with a consideration of the colonial establishment of a French-administered "School of Cambodian Arts" which was meant to shape and control artistic production throughout the country. At this institution, existing forms of practice were "corrected" and students were trained to mass produce hand-made "authentic" Cambodian art objects.

ISBN: 9780493153186Subjects--Topical Terms:

635474
Art History.

Citing Angkor: The "Cambodian arts" in the age of restoration, 1918--2000.
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520 $a This thesis presents a survey of art training and visual production in Cambodia from the beginning of the 20th century to the present. The thesis begins with a consideration of the colonial establishment of a French-administered "School of Cambodian Arts" which was meant to shape and control artistic production throughout the country. At this institution, existing forms of practice were "corrected" and students were trained to mass produce hand-made "authentic" Cambodian art objects.
520 $a Following independence, the definition of "Cambodian Arts" proposed by this colonial system of production was rethought. During the 1950s and 1960s, painters working from observation laid claim to a "modern Khmer painting" while institutional reforms at the School of Cambodian Arts introduced what were considered "modern subjects" (representational drawing, design, contemporary architecture and advertising). This shift in visual regimes was cut off, however, by the devastating events of the 1970s. More recent forms of "modern Cambodian art" from the 1990s, have turned away from observation, borrowing such tropes of Western modernism as the mark of the brush and the singular gesture with which to stake their claim to the new. All these post-independence forms carry with them lingering traces of a colonial regime which emphasized the model and its multiple copies.
520 $a Through a survey of these colonial and post-independence forms of visual production, this thesis provides a first account of the 20th century in a place which art history has almost exclusively considered in terms of the temples of Angkor (9th--14th century CE). Just as art history has written out the colonial processes through which these temples were "re-discovered" and monumentalised, so it has refused to consider more recent forms of visual production in Cambodia. A consideration of 20th century visual production in Cambodia cannot depend on the seemingly self-evident categories of artists and coherent bodies of work established by canonical accounts of Western modernism; instead, this thesis focuses on an institution and the successive regimes of training through which it introduced and enforced the concept of "the Cambodian Arts".
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