The Journal of Transcultural Studies 2020-01-30T14:03:41+01:00 Editiorial Team / Redaktion Open Journal Systems <p><em>The Journal of Transcultural Studies</em> is a peer-reviewed, open-access journal committed to promoting the knowledge and research of transculturality in all disciplines. It is published by the Cluster of Excellence “Asia and Europe in a Global Context: The Dynamics of Transculturality” of the Ruprecht-Karls-Universität Heidelberg.</p> Cover and Front Matter 2020-01-30T14:03:40+01:00 Russell Ó Ríagáin 2020-01-29T17:16:32+01:00 Copyright (c) 2019 Russell Ó Ríagáin Editorial Note 2020-01-30T14:03:39+01:00 Michael Radich Diamantis Panagiotopoulos 2020-01-29T17:17:43+01:00 Copyright (c) 2019 Michael Radich and Diamantis Panagiotopoulos Memories of a Man Who Dared to Attempt Great Things: Obituary for Rudolf Wagner (November 3, 1941–October 25, 2019) 2020-01-30T14:03:39+01:00 Axel Michaels <p>Obituary for Rudolf Wagner (November 3, 1941–October 25, 2019).</p> 2020-01-29T19:35:20+01:00 Copyright (c) 2019 Axel Michaels Erinnerungen an einen, der auszog, das Große zu wagen: Nachruf auf Rudolf Wagner (3. November 1941–25. Oktober 2019) 2020-01-30T14:03:38+01:00 Axel Michaels <p>Nachruf auf Rudolf Wagner (3. November 1941–25. Oktober 2019).</p> 2020-01-29T19:36:09+01:00 Copyright (c) 2019 Axel Michaels The Secret Joys of a Scholar: A Tribute to Rudolf G. Wagner 2020-01-30T14:03:41+01:00 Egas Moniz Bandeira <p>A Tribute to Rudolf G. Wagner.</p> 2020-01-29T16:44:24+01:00 Copyright (c) 2019 Egas Moniz Bandeira Rudolf Wagner, The Making of a Scholar of His Time 2020-01-30T14:03:40+01:00 Catherine V. Yeh <p>Acceptance speech on behalf of Rudolf G. Wagner on his award of the Karl Jaspers Prize, November 14, 2019, reworked November 25, 2019</p> 2020-01-29T16:49:38+01:00 Copyright (c) 2019 Catherine V. Yeh Living up to the Image of the Ideal Public Leader: George Washington’s Image in China 2020-01-30T14:03:38+01:00 Rudolf Wagner <p>Early Chinese biographies of George Washington were indirectly discussing the features a new kind of Chinese public leader might have to embody if he was to lead China out of its demise. Here was the promise of a colony of almighty England that had won its independence under Washington’s leadership, and had set up institutions that now made it into a quickly rising power that was respected by all. Candidates for the role of China’s Washington were well aware of such expectations, and tried to adjust their performance on the political stage down to dress, mien, and gait. This article traces the Chinese appropriation of George Washington to frame the image of a public leader in a post-Imperial China, from its beginning in the mid-nineteenth century to the foundation of the People’s Republic in 1949.</p> 2020-01-29T19:37:20+01:00 Copyright (c) 2019 Rudolf G. Wagner Art, Nature, Ghosts, and Ice Cream: Transcultural Assemblages of Prince Hermann von Pückler-Muskau (1785–1871) and Machbuba/Ajiamé/Billilee 2020-01-30T14:03:37+01:00 Freya Schwachenwald <p>Today, Prince Hermann von Pückler-Muskau (1785–1871) is known either as a landscape planner, as an eccentric bon vivant, or as a flavor of ice-cream. Discourses today represent him as an early example of German worldliness, juxtaposing him with the Humboldt brothers and Johann W. Goethe. These representations blur the complex asymmetric power relations that lie behind his construction as a historical subject. His subjectivity emerges through processes of knowledge production on the world, nature, art, humans, and objects. While German colonial history is often considered as having consisted of a short episode from the 1880s to 1920, this article sets out to unlearn these assumptions: the aim is not to rewrite German colonial history, but to investigate in which way colonialism as a fragmentation of the world naturalizes and maintains hierarchical knowledge systems through abstraction, aestheticization, and subject-creation. First, this paper investigates the dominant narratives in Pückler’s <em>Andeutungen über Landschaftsgärtnerei</em> (1834), <em>Aus Mehemed Ali’s Reich </em>(1844), and his gardens in Muskau and Branitz as constructions of the world as ideal nature. Second, this paper analyzes the contradictory historiography on Pückler, from the propagation of ice-cream recipes during the German Empire, to National-Socialist ideas on German landscapes, to contemporary representations of Pückler as a cosmopolitan creator of UNESCO World Heritage sites. Finally, the paper critically examines the relations of humans, objects, and aesthetics within Pückler’s ecological thought. Here, the focus lies on silenced narratives and the entanglements of his understandings of nature and slavery, with a particular focus on <em>Machbuba/Ajiamé/Bilillee</em>, a group of enslaved women who traveled with Pückler through North Africa and the Middle East between 1834 and 1840.</p> 2020-01-29T19:38:24+01:00 Copyright (c) 2019 Freya Schwachenwald Adding Value: Recent Trends in Museum Exhibitions of Asian-Pacific Artifacts. Guest Editor’s Introduction 2020-01-30T14:03:37+01:00 Jens Sejrup <p>Focusing empirically on transcultural phenomena in-and-out of China, South Korea, and Indonesia, the three papers in this special section of <em>The Journal of Transcultural Studies</em> interrogate important aspects of transcultural circulations and exhibitions of objects between Euro-America and the Asia-Pacific, both historically and currently.</p> <p>&nbsp;</p> <p>&nbsp;</p> 2020-01-29T19:39:55+01:00 Copyright (c) 2019 Jens Sejrup Concessions in “The Silver Age”: Exhibiting Chinese Export Silverware in China 2020-01-30T14:03:36+01:00 Susan Eberhard <p>This paper explores the role of museums and material objects in conveying evolving state priorities to the Chinese public, taking the traveling exhibition <em>The Silver Age: A Special Exhibition of Chinese Export Silver</em> as a case study. The silverwares displayed in the exhibition were produced in the politically contentious treaty port period for foreign consumers, and thus are complicated examples of Chinese cultural heritage. I analyze a set of translation strategies used by the organizers to present the objects as examples of fine craft. I argue that the emergence of Chinese export silverwares as a subject of collecting and display has provided the grounds for a political re-envisioning of China’s “century of humiliation” through the political construct of a “Silver Age.” The exhibition has thus participated in efforts to consolidate a global identity for the Chinese state, while reconciling narratives of past foreign imperialism.</p> 2020-01-29T19:41:03+01:00 Copyright (c) 2019 Susan Eberhard Representing the Republic of Korea in Europe: The Sarangbang display in Copenhagen and London 2020-01-30T14:03:36+01:00 Ji Young Park <p>Taking two examples, <em>Sarangbang</em> displays in the National Museum of Denmark (1966) and the British Museum (2000), my research traces the construction and circulation of meaning within permanent Korean art and culture exhibition galleries, as conceptualized by the government of the Republic of Korea (South Korea). By analyzing the visual and textual discourse of displays that reconstruct the <em>sarangbang</em> (scholars’ study) of the late Chosŏn period, primarily the 18<sup>th</sup> and 19<sup>th</sup> centuries, I seek to explore the communication dynamics employed to deliver knowledge about Korean art to European visitors, to integrate such knowledge within the Euro-centric universal knowledge production system, and to subvert (or to reinforce) the global hierarchies of values applied to non-European and traditional arts.</p> 2020-01-29T19:41:35+01:00 Copyright (c) 2019 Park Ji Young Authentic Primitive Art and Indigenous Global Desires between Reality and Hyperreality 2020-01-30T14:03:35+01:00 Roberto Costa <p>In the 1980s, the anti-evolutionary turn of humanities and the “vanishing” of primitive cultures and their crafts provoked what Shelly Errington terms as the “double death of authentic primitive art.” In more recent times, Errington continues, the increasing postmodern blur of high and low art have further disconnected the notions of “authentic” and “primitive” from art. In this paper, I contend that the current topicality of these notions in reference to art within the dynamics of the Art Zone, that is, the zone of negotiations between the different (f)actors involved in the art market. To support my argument, I take into examination one of the most iconic art traditions of this category, that of the Asmat of West Papua (Indonesia). By retracing its process of art formation, I investigate the current state of the art of the multifaceted notions of “authenticity” and “primitivism” both in the reality of Asmat land and the hyperreality of the theme park of Taman Mini “Indonesia Indah” in Jakarta. This combined exploration of Asmat art will provide a reassessment in emic terms of the paradigm of authentic primitive art as well as a sketch of the complexities and ambiguities that characterise the Art Zone.</p> 2020-01-29T19:42:02+01:00 Copyright (c) 2019 Roberto Costa