Seeing syncretism as visual blasphemy: critical eyes on Caodai religious architecture

The exuberant, eclectic architecture of the Caodai Holy See in French Indochina was described as a "grotesque combination" of European and Asian elements by several famous writers and this sense of horror served to construct a notion of "visual blasphemy" which merged aesthetic a...

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Détails bibliographiques
Auteur principal: Hoskins, Janet 1954- (Auteur)
Type de support: Électronique Article
Langue:Anglais
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Publié: Taylor & Francis [2010]
Dans: Material religion
Année: 2010, Volume: 6, Numéro: 1, Pages: 30-58
Sujets non-standardisés:B alternative aesthetics
B Vietnam
B Blasphemy
B Syncretism
B COLONIAL PERSPECTIVES
B New Religions
Accès en ligne: Volltext (Resolving-System)
Description
Résumé:The exuberant, eclectic architecture of the Caodai Holy See in French Indochina was described as a "grotesque combination" of European and Asian elements by several famous writers and this sense of horror served to construct a notion of "visual blasphemy" which merged aesthetic and ethical elements. Architecture is always read and misread though a cultural lens. It has been argued that the colonial "world as staged" (Mitchell 1999) produced its own "reality-effects," so I argue that an anti-colonial counter project of large public works tied to an innovative Asian synthesis of world religions served not only to bolster the morale of a once downtrodden people but also to convince them of the historical inevitability of their triumph. Caodaism was a new religious movement followed by 3 million people in French Indochina and its daring and "presumptuous" architecture was a visual act of insurrection, an iconographic revolution designed to precede and prepare the way for the political revolution to follow.
ISSN:1751-8342
Contient:Enthalten in: Material religion
Persistent identifiers:DOI: 10.2752/174322010X12663379393332