By Marijke Klokke and Ellen Raven
Since April 1, 1995 Van Kooij has been the incumbent of the special professorship of South Asian art history, specifically iconology and comparative art historythe Kern Institute of Indology at Leiden University. The establishment of this professorship was initiated by the Society of Friends of the Kern Institute and is sponsored by the Leiden University Fund.
Scholarly contacts
Van Kooij feels comfortable with the two aspects, iconology and comparative art history,
in the formulation of the professorship. "They reflect that Indian art history is embedded
in both the field of indology and in the discipline of art history. These two aspects create
a fascinating area of tension."
Iconology is a method which postulates the necessity of knowing the culturo-historical
context of a work of art in order to be able to interpret it. 'Works of art may be regarded
as symptoms of a particular cultural period. Literature reflects the range of ideas of that
period. A work of art is an exponent of that same range of ideas in visual form.'
Therefore, keeping in touch with colleagues in the field of indology concentrating on
literature, religion, or philosophy is of vital importance.
Comparative art history emphasizes the relationship with the art historical discipline.
"This link enables one to follow the methodological developments of the discipline. Many
of the prevalent theories and methodologies were developed through the study of
Renaissance art and, as far as the Netherlands are concerned, seventeenth-century art.
Other art, including that of non-Western countries, provides different material, raises
different questions, and advances different solutions, all of which may correct theories
developed in Western art historical studies." Thus, not only can historians of non-Western
art profit from theories developed by historians of Western art, but also vice versa;
scholarly contacts can be fruitful in both directions.
More specifically, Van Kooij co-operates with Dr. Roland Silva, Prof. dr. P.L.
Prematilaka, and Dr. Nandana Chutiwongs in the Sri Lanka Project, under the banner of
the Cultural Triangle Project of UNESCO. It provides in an exchange of PhD students
and concentrates on the liturgical function of Buddhist shrines in Sri Lanka.
Initiatives
Van Kooij, who had been attached to the University of Utrecht from 1966, came to
Leiden in 1992 when the Indological Department of the University of Utrecht merged
with that in Leiden. Since then he has initiated and strengthened disciplinary contacts
between scholars concerned with the study of non-written sources of information. When
we expressed our admiration for his achievements, he emphasized that he could not have
succeeded without the stimulating discussions with Pauline Lunsingh Scheurleer, head of
the Department of Asiatic Art in the Rijksmuseum in Amsterdam, the support of the
Sinologist Prof. E. Züand the Japanologists Drs. H. van der Veere and Prof. W.J.
Boot at Leiden University, or the enthusiasm of the art historian Prof. A.J.J. Mekking.
Among the most important initiatives taken has been the formation of a study group for
Non-western art and material culture, which was officially approved by the Faculty of
Arts in 1994. It co-ordinates teaching in non-Western art and material culture and
stimulates research in this field. It made its debut with a symposium on Function and
Meaning of Buddhist Art 1991, and has itself profited from through thematic
courses on Buddhist and Islamic art. These courses have attracted large numbers of
students. Since 1995 students of art history, non Western languages, or anthropology at
Leiden University have been able to specialize in non-Western art and material culture.
From artefact to man
Besides historians of Western and non-Western art, the study group includes
anthropologists. "Art historians and anthropologists do not speak the same language. Far
more than art historians, anthropologists focus on the social aspect of material culture.
Art history proceeds from artefact to man, while cultural anthropology starts from the
opposite direction." Van Kooij finds the discussion between art historians and
anthropologists fruitful, and he believes that it is extremely useful for students of art
history to become acquainted with the methods of both disciplines.
"One should, however, be well aware of the methodology used and its disciplinary
origin." Van Kooij does not have a high opinion of research that combines methodologies
from several disciplines which may appear useful. "One may benefit from the research in
other disciplines, for instance psychology or history of religion, but one should avoid
mixing up methods from different disciplines." He admits that he is quite formal and
strict in this respect in contrast to some other historians of Indian art.
The theme of violence
Van Kooij will concentrate mainly on Buddhist and Hindu art. Violence is a theme which
engages him very much at the moment. He is concerned with the question why violence
plays such an important role in the art of India and Tibet. "The violent aspect is too
obvious to ignore it. Why do violent images appear even in religious art? How did they
function? Why does one cease to notice the violent aspect? For instance, the violent
aspect of Christ nailed to the cross, to give a familiar example. Does it not represent
reality? Or does it after all? Violence is such a fact of life that its study is relevant to us
all."
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