1.蘇峯楠主編，《看得見的臺灣史．空間篇：30幅地圖裡的真實與想像》。臺北：聯經出版，2022。
2.陳有貝，《山林裡的南島語族──台灣原住民族群的形成論》。臺北：華藝學術出版社，2022。
3.Anna Grasskamp, Art and Ocean Objects of Early Modern Eurasia: Shells, Bodies, and Materiality. Amsterdam: Amsterdam University Press, 2021.
4.D. Max Moerman, The Japanese Buddhist World Map: Religious Vision and the Cartographic Imagination. University of Hawaii Press, 2021.
3.Anna Grasskamp, Art and Ocean Objects of Early Modern Eurasia: Shells, Bodies, and Materiality.
During the early modern period, objects of maritime material culture were removed from their places of origin and traded, collected and displayed worldwide. Focusing on shells and pearls exchanged within local and global networks, this monograph compares and connects Asian, in particular Chinese, and European practices of oceanic exploitation in the framework of a transcultural history of art with an understanding of maritime material culture as gendered. Perceiving the ocean as mother of all things, as womb and birthplace, Chinese and European artists and collectors exoticized and eroticized shells’ shapes and surfaces. Defining China and Europe as spaces entangled with South and Southeast Asian sites of knowledge production, source and supply between 1500 and 1700, the book understands oceanic goods and maritime networks as transcending and subverting territorial and topographical boundaries. It also links the study of globally connected port cities to local ecologies of oceanic exploitation and creative practices.
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4.D. Max Moerman, The Japanese Buddhist World Map: Religious Vision and the Cartographic Imagination.
From the fourteenth through the nineteenth centuries Japanese monks created hundreds of maps to construct and locate their place in a Buddhist world. This expansively illustrated volume is the first to explore the largely unknown archive of Japanese Buddhist world maps and analyze their production, reproduction, and reception. In examining these fascinating sources of visual and material culture, author D. Max Moerman argues for an alternative history of Japanese Buddhism—one that compels us to recognize the role of the Buddhist geographic imaginary in a culture that encompassed multiple cartographic and cosmological world views.
The contents and contexts of Japanese Buddhist world maps reveal the ambivalent and shifting position of Japan in the Buddhist world, its encounter and negotiation with foreign ideas and technologies, and the possibilities for a global history of Buddhism and science. Moerman’s visual and intellectual history traces the multiple trajectories of Japanese Buddhist world maps, beginning with the earliest extant Japanese map of the world: a painting by a fourteenth-century Japanese monk charting the cosmology and geography of India and Central Asia based on an account written by a seventh-century Chinese pilgrim-monk. He goes on to discuss the cartographic inclusion and marginal position of Japan, the culture of the copy and the power of replication in Japanese Buddhism, and the transcultural processes of engagement and response to new visions of the world produced by Iberian Christians, Chinese Buddhists, and the Japanese maritime trade. Later chapters explore the transformations in the media and messages of Buddhist cartography in the age of print culture and in intellectual debates during the eighteenth and nineteenth centuries over cosmology and epistemology and the polemics of Buddhist science.
The Japanese Buddhist World Map offers a wholly innovative picture of Japanese Buddhism that acknowledges the possibility of multiple and heterogeneous modernities and alternative visions of Japan and the world.
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