Cultural History In Focus | “Art Critics, Connoisseurs, and Collectors in the Southeast Asian Rain Forest: A Study in Cross-Cultural Art Theory” by Stanley J. O'Connor

 

Four Dayak men standing behind 5 large jars belonging to the village head of Pangkoh, Central Kalimantan. Circa 1925.
© Tropenmuseum | The Netherlands

 
 
 

Art Critics, Connoisseurs, and Collectors in the Southeast Asian Rain Forest

A Study in Cross-Cultural Art Theory

 

by Stanley J. O’Connor

 
 

This article is generously provided by Stanley J. O’Connor.

 
 

Glazed blue-green martavaan with six ears and decoration of core edging, flowers, and animals in relief
© Princessehof Ceramics Museum

Martavaan with decoration of lion heads and dragons in relief, covered with polychrome glaze
© Princessehof Ceramics Museum

Martavaan with six ears and decoration of cord edging and two blue dragons in relief
© Princessehof Ceramics Museum

Martavaan with four ears and decoration of face, hand and flowers in relief
© Princessehof Ceramics Museum

Celadon martavaan with dripping glaze
© Princessehof Ceramics Museum

Martavaan with carved decoration of tigers and dragons
© Princessehof Ceramics Museum

 

A collection of jars employed by Dayaks for water storage. 1894.
© M. Schadee | Nationaal Museum van Wereldculturen | The Netherlands

Group of Dayaks drinking in front of a longhouse. 1910-1925.
© Tropenmuseum | The Netherlands

Ibans Bargaining Over Old Jars. 1912.
© Charles Hose

A Tempayan from Benoea Martinus. 1924-1936.
© Nationaal Museum van Wereldculturen | The Netherlands

Couple in Borneo preparing for the Tiwah mortuary ritual.
© Tropenmuseum | The Netherlands

 

Colophon

Author | Stanley J. O’Connor
Source | Journal of Southeast Asian Studies, Vol. 14, No. 2 (Sep., 1983), pp. 400-408
Publisher | Cambridge University Press on behalf of Department of History, National University of Singapore