13:30-15:00 Politico-economic Connectivity / Chair: Misu Kim (Hankuk University of Foreign Studies)
Pham Cao Cuong (Vietnam Academy of Social Sciences) "Maritime Security Connectivity between India and Southeast Asia"
Surat Horachaikul (Chulalongkorn University) "A Look at How Thai Media Positively Depicted India in 2023 and What are the Geopolitical Implications of this Coverage?"
Dang Thai Binh (Vietnam Academy of Social Sciences) "India-ASEAN Economic Cooperation in the Act East Policy"
15:30-17:00 Socio-cultural Connectivity / Chair: Gyanesh Kudaisya (National University of Singapore)
Jozon Angeles Lorenzana (Ateneo de Manila University) "A Suitable Transport: The Indian Auto-rickshaw on Philippine Roads"
Jirayudh Sinthuphan (Chulalongkorn University) "Transcultural Indian Arts: Towards A New Form of People-to-People Diplomacy"
Dang Thu Thuy (Vietnam Academy of Social Sciences) "Enhancing Vietnam - Nepal Tourism Cooperation"
11月18日（土）9:00-15:30
9:00-10:30 Mobility and Migration / Chair: Riho Isaka (University of Tokyo)
Mamta Sachan Kumar (National Museum of Ethnology) "Can a Diaspora Die? Kobe’s "Hima-jin" Sindhi Housewives and the Paradoxical Value of Their Hypersocial Lives"
Sidharthan Maunaguru (National University of Singapore) "Connected and Disconnected Futures: Multiple Temporalities and Sri Lankan Tamil Migrations across Borders"
Gilbert Que (Ateneo de Manila University) "Indian Associations in the Philippines: Communicating Diasporic Presence, Fostering Belonging"
11:00-12:30 Historical Connectivity / Chair: Surat Horachaikul (Chulalongkorn University)
Makoto Kitada (Osaka University) "The Thief of Love. The Earliest Works of Bengali Literature: From Kathmandu to Chittagong"
Banuka Iddamalgoda (University of Tokyo) "Drug Diffusion and Social Agitation－the Case of Opium in British Ceylon"
Gyanesh Kudaisya (National University of Singapore) "At the Threshold of Freedom: Ideas and Agendas for India, 1944-1949"
12:30 Lunch
13:30-15:00 Social Transformation / Chair: Tran Thi Lan Huong (Vietnam Academy of Social Sciences)
Jinwon Han (Hankuk University of Foreign Studies) "Public Sector Corruption in South Asia: Focusing on Institutional Factors with a Two-step fsQCA"
Czarina Saloma-Akpedonu (Ateneo de Manila University) "Digital Capital and Belonging in Universities: Understanding Inequalities in India and the Philippines"
Shin Jinyoung (Hankuk University of Foreign Studies) "Social Innovation of India in Great Transition"
15:00 Closing Session
Concluding Remarks: Minoru Mio (National Museum of Ethnology)
15:30 ACSAS Directors' Meeting
at Small Conference Room 1, Inamori Memorial Building
Koji Miyazaki (Executive Director, National Institute for the Humanities)
Kenji Yoshida (Director-General, National Museum of Ethnology)
Minoru Mio (Convener, NIHU Indian Ocean World Studies Program)
11:00-13:30 Session 1: Materials
"Mocha Coffee" in Three Ways: Plant, Brand and Blend Hideaki Suzuki (National Museum of Ethnology)
From the Edge of the Indian Ocean: Qat and the people who trade and consume it Reiko Otsubo (Tokyo University of Foreign Studies)
A World made from Scrap: Scrap Circulation in and beyond Ahmedabad, India Ayako Iwatani (Kyoto University)
A blank canvas for fashion: merikani cotton cloth in the 19th century Sarah Fee (Royal Ontario Museum)
14:30-17:00 Session 2: Cultural Phenomena
Creolising swirls, transoceanic gyres: Creolisation theory and transcultural phenomena in the Indian Ocean world Ananya Jahanara Kabir (King’s College London)
Indians in Swahili Literature: Comparing Vuta N’kuvute and Propaganda Literature Fuko Onoda (Osaka University)
Spatial Organization of Port Cities in the Indian Ocean World: From the Perspective of the Distribution of Communities Shu Yamane (Kwansei Gakuin University)
Two Currents in Ramayana: Ramayana Productions from Singapore and its Gyre to the Global Indian World Yoshiaki Takemura (National Institutes for the Humanities)
1月22日（日）シンポジウム2日目
10:00-12:30 Session3: People
Ecological factors behind the circulation of Indian traders in the Indian Ocean Claude Markovits (Centre national de la recherche scientifique)
Intersecting land and maritime trade networks in Southwest Asia: the Afghan arms trade in cooperation with various trade networks at the turn of the 19th and 20th centuries Ichiro Ozawa (Ritsumeikan University)
Indian Social Networks and the Role of Intermediaries in Indian Ocean Labour Migration in the Colonial Era. Crispin Bates (Sunway University)
Different Migration Patterns of the Hadrami sada from a Comparison of the al-‘Aydarus and the al-Habshi families Kazuhiro Arai (Keio University)
13:30-16:00 Session 4: Ideas and Faiths
The Haddadian paradigm in the Indian Ocean. Tracing movements retold Anne Bang (University of Bergen)
Introspection of Religious Identity across the Indian Ocean: Reading ʿAlī b. Muḥammad b. ʿAlī al-Mundhirī’s Works Yohei Kondo (Fukuoka Women’s University)
A new aspect of Hinduism in the diaspora and its significance: Tamil ritual worship at a Hindu temple in Jakarta, Indonesia Hiroshi Yamashita (Tohoku University)
Shirdi Sai Baba’s Oceanic Transmigrations Smirti Srinivas (University of California, Davis)
2025年2月8日（土）および9日（日）の2日間、国立民族学博物館において、近現代ペルシア建築史・美術史をポストコロニアル理論、人種論、フェミニズム理論、批判理論の観点から研究されているカリフォルニア大学UC DavisのTalinn Grigor教授をお招きし、下記の要領で国際ワークショップ “Global Perspectives on Persian Art: Reception, Representation, and Identity” を開催いたします。
本ワークショップは、人間文化研究機構ネットワーク型基幹研究プロジェクト「グローバル地中海地域研究」の東京外国語大学アジア・アフリカ言語文化研究所（AA研）拠点・国立民族学博物館（みんぱく）拠点、「環インド洋地域研究」国立民族学博物館拠点、東京大学東洋文化研究所班研究「イスラーム美術の諸相」班共催のイベントです。国内外で最先端の研究に取り組む比較文化論、美術史、博物館学の研究者が一堂に会する貴重な機会となりますので、奮ってご参加ください。
プログラム
2月8日（土）
Chair: Yui Kanda (ILCAA, Tokyo University of Foreign Studies)
14:00–14:05 Welcoming Address
Minoru Mio (NIHU Global Area Studies Program representative, National Museum of Ethnology)
14:05–14:10 Introduction
Zahra Moharramipour (International Research Center for Japanese Studies)
14:10–15:00
Zahra Moharramipour (International Research Center for Japanese Studies) Tracing Sasanian Art Historiography: The Intersection of Japanese and Persian Art Histories in the Early 20th Century
15:00–15:10 Coffee Break
15:10–16:00
Yumiko Kamada (Keio University) Reception of Persian Art Objects in Japan
16:00–16:10 Coffee Break
16:10–17:00
Aki Toyoyama (Kindai University) Reimagining the Persianate and Exotic in Indo-Saracenic Palaces of Hyderabad and Mysore Commentator: Kenji Kuroda (National Museum of Ethnology)
2月9日（日）
10:10-11:00
Yuki Terada (Tokyo College, The University of Tokyo) Museums in Iran and Identity Formation – Continuities, Changes, and Challenges
11:00-11:10 Coffee Break
11:10-12:00
Talinn Grigor (UC Davis): Circulating Irano-Armenian Architects and the International Style in and out of Modern Iran
12:00-12:10 Coffee Break
12:10-13:00 Comments and Discussion
Commentator: Zahra Moharramipour (International Research Center for Japanese Studies)
13:00-14:30 Lunch Break
14:30-15:30 Museum Tour
15:30-17:00 Discussion
要旨／ 登壇者略歴
Zahra Moharramipour (International Research Center for Japanese Studies)
Tracing Sasanian Art Historiography: The Intersection of Japanese and Persian Art Histories in the Early 20th Century
【Abstract】
In his 1925 lecture in Tehran, titled “Persian Art and Culture,” American art historian Arthur Upham Pope highlighted the “inspiration and artistic guidance” that Japan and China received from Persia. Pope presented this as an example of the “contributions made by Persia to the cultural and spiritual life of the world.” This paper examines the historiography of Sasanian art in Japan and Europe to elucidate how the notion of a connection between Japan and Persia was established in the early 20th century. In the late 19th century, a textile with pearl roundel and hunting motif was discovered in Horyuji Temple in Nara, prompting questions about the origin of the textile and, more broadly, the origins of Japanese art. In his doctoral dissertation, On the Architecture of Horyuji Temple, Japanese architectural historian Ito Chuta attributed the textile’s pattern to a “Sasanian” origin. Ito’s dissertation was later introduced to Europe, where it became a reference point in discussions of both Japanese and Persian art history. This paper explores the circulation of ideas surrounding the so-called “Sasanian” textiles to understand how Japanese and European art historians shaped discourses on Japan-Persia relations and how these ideas were subsequently received in Iran.
【Biography】
Zahra Moharramipour is Assistant Professor at International Research Center for Japanese Studies. Her research focuses on the formation of the idea of “Persia” in early 20th-century Japan, employing an interdisciplinary approach that integrates art history, architectural history, archaeology, history, and literature. She was previously a JSPS fellow at the National Museum of Ethnology and received her PhD in Comparative Literature and Culture from the University of Tokyo in 2023. Her doctoral dissertation, Expanding the Concept of the “Orient” in Early Twentieth Century Japan: Perceptions of Persia among Ito Chuta and the Japanese Architects, Art Historians and Historians, was awarded the Kim So-un Prize from the University of Tokyo Society of Comparative Literature and the Ichiko Memorial Award from the University of Tokyo College of Arts and Sciences. A monograph based on her dissertation, written in Japanese, is forthcoming in 2025.
Yumiko Kamada (Keio University)
Reception of Persian Art Objects in Japan
【Abstract】
There has been a wide-spread understanding that Persian art had little, if any, influences over Japanese culture. In fact, there has been numerous encounters between Persian arts and Japanese audience. In this paper, I will explore two prominent cases of these encounters.
The first part of this paper explores the contexts and modes in which Persian art objects, including textiles and carpets, were received in early modern Japan. Due to the preeminence of Persian textiles, robes, and carpets, Persian rulers often used them as diplomatic gifts since ancient times. Similarly, in the 16th century, the Portuguese brought Persian textiles and carpets to Japan as gifts. Recognizing the value that the Japanese placed on these rare items, the Dutch also used them as diplomatic gifts during the Edo period. From the 18th century onwards, powerful merchants in Kyoto utilized Persian carpets as float covers during the annual Kyoto Gion Festival to demonstrate their wealth and cultural sophistication. Another notable context in which Persian textiles were integrated into Japanese culture was the tea ceremony. Tea masters crafted covers for tea caddies from imported Persian woven textiles, which further elevated their value and reputation. Even tiny fragments of Persian woven textiles were preserved in albums and highly regarded among tea circle members.
The second part of this paper focuses on Japanese painters who traveled to Europe to study Western-style painting in the late 19th and early 20th centuries, a period when interest in Islamic art was flourishing among European artists and collectors. Following the publication of Owen Jones’ works on the Alhambra and The Grammar of Ornament, many European artists drew inspiration from Islamic art objects. William Morris, for instance, collected Persian carpets and famously incorporated their designs into his own art. Prominent artists and museums alike accumulated Islamic art, with the “Arab Hall” in Frederick Leighton’s residence serving as a notable example of such collections.
In this environment, Japanese painters encountered Islamic art for the first time. Some visited leading institutions such as the Victoria and Albert Museum, where they studied textiles, ceramics, and paintings from the Islamic world. These artists returned to Japan with Persian textiles and other Islamic artifacts, which they used to inspire and educate young Japanese artists. Interestingly, Japanese artists who traveled to India in the early 20th century also encountered Persian paintings alongside Mughal art. This paper aims to illuminate these lesser-known connections between Japanese artists and Islamic, particularly Persian, art.
【Biography】
Yumiko Kamada is an Associate Professor at Keio University. She received her B.A. from Keio University in 2002, M.A. from the University of Tokyo in 2004, and Ph.D. from the Institute of Fines Arts, New York University in 2011. She specializes in Islamic art history. After the publication of her book, Jutan ga Musubu Sekai: Kyoto Gion Matsuri Indo Jutan e no Michi (Carpets that Connect the World: Indian Carpets and Their Journey toward the Kyoto Gion Festival, University of Nagoya Press, 2016), she received several awards including the Japan Academy Award. Her recent research focuses on Japanese artists’ encounters with and reactions to Islamic art during their stays in Europe in the early 20th century. Among the articles she wrote are "The Material Translation of Persian and Indian Carpets and Textiles in Early Modern Japan" in In-Between Textiles, 1400-1800: Weaving Subjectivities and Encounters, Amsterdam University Press, 2023, pp. 305-326; “The Attribution and Circulation of Flowering Tree and Medallion Design Deccani Embroideries,” in Sultans of the South: Arts of the India’s Deccan Courts, 1323-1687, Yale University Press, 2011, pp. 132-147; “A Taste for Intricacy: An Illustrated Manuscript of Mantiq al-Tayr in the Metropolitan Museum of Art” Orient 45 (2010), pp. 129-175.
Aki Toyoyama (Kindai University)
Reimagining the Persianate and Exotic in Indo-Saracenic Palaces of Hyderabad and Mysore
【Abstract】
This paper discusses as to how Indo-Saracenic architecture which developed in late-nineteenth-century India reflected the Victorian imagination of the exotic, comprising of Persian, Islamic, Oriental, and other non-Western labels, and to what extent it impacted Indian society to redefine its identities through the transformation of traditional urban spaces into hybrid visualscapes. Focusing on Hyderabad and Mysore, two of the most prominent princely states in the Indian Empire both located in the southern Deccan where Shi’a Islam and Persian culture occupied a distinctive position since the fourteenth century, the paper analyses stylistic features of their palace complexes constructed under British supervision by tracing different sources of architectural shapes and decorative motifs and examines visual implications of those architectural idioms in political, social, and cultural contexts.
It is not surprising that the adoption of the Indo-Saracenic style in Muslim-ruled Hyderabad and Hindu-ruled Mysore signified different meanings and values. Claiming the origin of Persian lineage, the Nizams of Hyderabad actively incorporated the architectural details of the Shi’ite Qutb Shahis of Golconda into their buildings. The present Khilwat Mubarak (durbar hall) completed in 1916 at the Chowmahalla palace shows an eclectic character consisting of Hindu, Mughal, and Qutb Shahi elements, among which intricate plasterworks on wall surfaces are unique features to Hyderabad’s Indo-Saracenic architecture representing the Nizams’ perceptions of an inheritance of the Persianate Deccan. On the other hand, the Mysore palace completed in 1912 demonstrates more modernised and hybrid features culminating an extravaganza of Indo-Saracenic palaces. Stained-glass ceilings, cast-iron pillars, and encaustic floor tiles all from Britain and the adoption of a peacock motif as a symbol of kingship indicates the rulers’ polysemic identities of “India” rather than Mysore, Deccan, or Hindu, reinvented through the negotiation between the Victorian notions of the exotic and the Maharajas’ strategies of self-representations of colonial modernity.
【Biography】
Aki Toyoyama is Associate Professor at the Faculty of International Studies in Kindai University (Osaka, Japan). Her research focuses on the history of colonial art and architecture of South Asia, with a particular attention to the global trade of decorative tiles called majolica made in interwar Japan and diffused not only in Japan’s colonies but also in the Straits Settlements, India, and other British and European colonies in the Indian Oceanic world. Her publications include Divine Affection: Enchanting Images of Hindu Deities (Co-author, National Museum of Ethnology, 2003, in Japanese), “A Political History of Handicrafts and Exhibitions in Colonial India” in The Journal of the Society for Arts and Anthropology, Vol. 39 (2023, in Japanese), The Vibrance of Indian Fabrics (Co-author, Showado, 2021, in Japanese), and “Visual Politics of Japanese Majolica Tiles in Colonial South Asia” in The Journal of Indian and Asian Studies, Vol. 1, No. 2 (2020).
Yuki Terada (Tokyo College, The University of Tokyo)
Museums in Iran and Identity Formation – Continuities, Changes, and Challenges
【Abstract】
Museums act as gatekeepers of cultural narratives and serve as reflections of societal power dynamics. This presentation highlights the role of museums in Iran to define “Iranian art” and illustrates the ongoing interplay between culture and power by examining how “national culture” and “foreign cultures” have been collected and represented in major museums inside the country since the late 19th century. At the beginning of the presentation, some features of the first royal museum in Iran, which was created inside the Golestan Palace in 1876, will be briefly introduced. Then, the history of cultural policy from the 20th century onward will be summarized. Iran’s cultural policy has evolved under two distinct ideologies: the Pahlavi dynasty (1925–1979), which promoted modernization and Westernization, and the Islamic Republic, established after the 1979 Islamic Revolution. However, a closer look at examples shows that both periods embraced not only “national culture” but also “foreign cultures” and encouraged cross-cultural exchange and multicultural representation. The presentation primarily focuses on the museums which have been showcasing both “Iranian art” and art from around the world (i.e. Tehran Museum of Contemporary Art, Jahan-Nama Museum of Niavaran Palace Historical Cultural Complex, World Art Museum). By comparing and contrasting these museums striving for “coexistence”, the talk further discusses what it means to define “national culture” within a global context and the continuities, changes, and challenges of identity formation in museum curation.
【Biography】
Yuki Terada is a Project Assistant Professor at Tokyo College, the University of Tokyo. Her research primarily focuses on how museums have been used to divide or integrate human groups and cultivate senses of belonging. She also examines how museums, which can change in accordance with the government in power, have functioned as a way to define, collect, and exhibit one’s own culture and the culture of others in Middle Eastern Islamic countries. Her doctoral dissertation, “Museum for Whom? The Evolution of the Museum and ‘Iranian Art’ in Iran” (2022) provided an overview of cultural policies and the history of museum establishment and discussed the role of museums in Iran as a stage for cultural diplomacy. Currently, she is conducting a research project titled “Museum of Science and Technology and the Paradox of Peace,” which examines how art, religion, science, and technology are displayed in contemporary Iranian museums and beyond.
Talinn Grigor (UC Davis)
Circulating Irano-Armenian Architects and the International Style in and out of Modern Iran
【Abstract】
In June 1928, twenty-eight architects, not all “Europeans” as claimed by canonical art history, were the guests of Swiss philanthropist Hélène de Mandrot in the Chateau de la Sarraz, where they drafted Congrès Internationaux d'Architecture Moderne’s (CIAM) manifesto. Gabriel Guevrekian, who had first introduced de Mandrot to Le Corbusier and led the organization of this seminal congress, was a vital player in the formation of the International Style whose Houses 67-68 figured at the center of Vienna’s Werkbund Exhibition in 1932. The following year, when the Nazis cracked down on the Modern Movement, Guevrekian—a Constantinople-born, Tehran-raised, Vienna-educated, and Paris-trained Armenian architect—accepted Reza Shah’s invitation to serve as Tehran’s chief architect. He and others, including Vartan Hovannisian and Nektar Papazian Andreeff, brought the International Style to the autocratic king’s tabula rasa. This talk asks why, given the staunchly nationalist policies of the 1920s-30s, did many of the modernist architects come from Iran’s religious minorities.
The diasporic global networks of Irano-Armenians since Shah Abbas’ deportations in the early 17th century, coupled with their commitment to the “international” doctrine of the Modern Movement and the International Style, rendered them influential agents in shaping Iranian as well as global modernism in architecture. This minoritarian agency of Irano-Armenian globality manifests itself as early as 1920, when Diana Abgar—a Rangoon-born, Calcutta-raised Armenian child of a Shirazi mother and a New Julfan father, was appointed as the First Republic of Armenia’s Honorary Consul to Japan, serving as one of the earliest female diplomats in the modern era. Challenging canonical art histories of the Modern Movement and nationalist histories of Area Studies, the study explores minoritized agencies in shaping and circulating the International Style.
【Biography】
Talinn Grigor is Professor of Art History in the Department of Art and Art History at the University of California, Davis. Her research focuses on 18th- to 20th-century architectural and art histories through postcolonial, race, feminist, and critical theories grounded in Iran, Armeno-Iran, Armenia, and Parsi India. Her books include the winner of the Saidi-Sirjani Book Award, The Persian Revival (2021), Contemporary Iranian Art (2014), Building Iran (2009), and Persian Kingship and Architecture (2015) co-edited with Sussan Babaie. Grigor has received fellowships from the National Gallery of Art, Getty Research Institute, Cornell’s Humanities Center, Princeton’s Persian Center, MIT’s Aga Khan Program, SSRC, and Persian Heritage and Gulbenkian foundations. Co-authored with Houri Berberian, The Armenian Woman, Minoritarian Agency, and the Making of Iranian Modernity, 1860–1979, is forthcoming from Stanford University Press in March 2025. Grigor’s current book project explores Armenian architects’ unknown and global agency in the history of avant-gardism in West Asia.
備考
Co-hosted by: NIHU Global Mediterranean at ILCAA, Tokyo University of Foreign Studies, NIHU Global Mediterranean at the National Museum of Ethnology, NIHU Indian Ocean World Studies at the National Museum of Ethnology, “Various Aspects of Islamic Art” Working Group at the Institute for Advanced Studies on Asia, The University of Tokyo
12:10-12:50 Mark Turin (University of British Columbia / Institute for Critical Indigenous Studies) Decolonizing Universities and the Role of University Museums, Archives and Libraries in Indigenous Reconciliation (12:50-13:50 Lunch break)
13:50-14:30 Makiko Kimura (Tsuda University) Who are the "Outsiders" in Bodoland? Ethnic Conflict and Identity in Western Assam, India
14:30-15:10 Sara Shneiderman (University of British Columbia) What happened to Nepal's Indigenous agenda? Shifting discourses of marginality and vulnerability through disaster and development governance (15:10-15:25 break)
15:25-17:00 General discussion
備考
主催：Center for Indian Ocean World Studies, Kyoto University (KINDOWS) 共催：Japanese Society of Cultural Anthropology (Kinki Area Seminar); Japanese Society for South Asian Studies; Himalayan Research Unit, Kyoto University; JSPS Grant-in-Aid for Scientific Research (19H00558) "Comparative Study of Reconstruction"
お問い合せ
kindows@asafas.kyoto-u.ac.jp
HINDOWS講演会: Studying, Strolling, Overhearing -Poetry in multilingual early modern North India-
Within the multilingual milieu of early modern north India, poetry circulated within and acrossseveral devotional and courtly "communities of taste" and reached listeners and practitioners acrossboundaries of script and literacy. But while devotional poets experimented with multilingual registersand "nuggets" of poetic language, others kept their languages in which they cultivated their poetictastes quite distinct. This talk tries to make sense of such different attitudes by considering thefunctions of poetry, the terms used for cultivating poetry in different languages (e.g. "strolling" vs "studying"), and the presence or absence of multilingual traces and clues in texts. In addition, a spatialapproach allows us to read together textual production and literary practices in different languages byactors who were active in the same area, whether they acknowledge each other or not. Suchmultilingual and located approach, the talk argues, produces quite a different, more textured, andentangled literary history than the ones of accounts centred on single languages. It involves aliterary comparatism "in one place" focused more on circulation and transmission than on translationand transregional movement.
報告：Dr. Rochana Bajpai (SOAS) : "Liberal ideas in India"
《要旨》 Liberal ideas in India remain understudied as liberalism, having been subsumed within Indian nationalism. Revisiting my earlier sketches of liberal ideas in India (Bajpai 2012, 2019), I distinguish three strands that were influential in nineteenth and twentieth-century India: colonial, nationalist, and radical. All shared a strong belief in the state as the principal agent of liberal reform and an acceptance of group-differentiated rights, reflected in the Indian Constitution. Even though liberal ideas have had a significant presence, strong liberalism has rarely been articulated – the need for limiting state power and protecting individual freedoms has rarely been elaborated, a key concern today. Liberalism is often located within Western colonialism in current debates in political theory. However, the decolonizing agenda also requires us to attend to the novel forms and emancipatory potential of liberal ideas and practices in non-Western contexts.
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