A Note Regarding Two European Statues in the Bangkok Museum.

Journal of the Siam Society 66 (2) (1978). A. B. Griswold and Prasert na Nagara, Epigraphic and Historical Studies nos. 1-24. All published in the Journal of the Siam Society (JSS), as follows: (1) A Declaration of Independence and Its Consequences.

JSS 56 (2) (1968); (2) The Asok?r?ma Inscription of 1399 A.n. JSS 57 (1) (1969); (3) The Pact Between Sukhodaya and N?n. JSS 57(1) (1969); (4) A Law Promulgated by the King of Ayudh? in 1397 a.d. JSS 57 (1) (1969); (5) A Pact Between Uncle and Nephew. JSS 58 (1) (1970); (6) An Inscription in Old Mon From Wieng Man? in Chieng Mai Province. JSS 59 (1) (1971); (7) The Inscription of V?t Traban Jan Ph?ak. JSS 59 (i) (1971); (8) The Inscription of V?t Jan Lorn (1384 a.D.).

JSS 59 (1) (1971); (9) The Inscription of King R?ma Gamh?n of Sukhodaya (1292 A.D.). JSS 59 (2) (1971); (10) King L?daiya of Sukhodaya and His Contemporaries. JSS 60 (1) (1972); (11) The Epigraphy of Mah?dharmar?j? I of Sukhodaya, Part I. JSS 61 (1) (1973), Part II JSS 61 (2) (1973); (12) Inscription 9. JSS 62 (1) (1974); (13) The Inscription of Wat Pra Y?n. JSS 62 (1) (1974); (14) Inscription of the Siva of K?mben Bejra. JSS 62 (2) (1974); (15) The Inscription of V?t

Khem?. JSS 63 (1) (1975); (16) The Inscription of V?t Brah Stec, Near Sukhodaya. JSS 63 (1) (1975); (17) The "Judgments of King Man Ray."

JSS 65 (1) (1977); (18) The Inscription of V?t Jya? Hm?n (Wat Chieng Man). JSS 65 (2) (1977); (19) An Inscription from Keng Tung

(1451 A.D.). JSS 66 (1) (1978); (20) The Buddhapada of V?t Pavaranivesa and Its Inscription. JSS 66 (2) (1978); (21) The Second Oldest Known Writing in Siam. JSS 67 (1) (1979); (22) An Inscription from V?t Hin Tan. JSS 67 (1) (1979); (23) An Inscription of 1529 a.d. from Sukhodaya. JSS 67 (2) (1979); (24) An Inscription of 1563 a.d. Regarding a Treaty Between Laos and Ayudhy? in 1560. JSS 67 (2) (1979).

Schuyler Van Rensselaer Cammann (1912-1991)

When he died on September 9, 1991, Schuyler Van Rensselaer Cammann had two manuscripts nearly ready to mail and was

making preparations for a trip to Australia. Still an avid mountain climber, at age 79 Ki (as he was known to his friends) was as eager to travel the unexplored and write about it as

he had been when he first went to China in 1935. Schuyler V. R. Cammann was born in New York City and

was educated at St. Paul's School on Long Island and the Kent School, Kent, Connecticut, where he was a member of the class of 1931. He was awarded his B.A. from Yale College in 1935 and upon graduation

a spur-of-the-moment decision took him

to Changsha as a teacher of English and European history through the Yale-in-China program. Ki stayed in Changsha two years, traveling whenever he could and becoming fluent in Chinese. The following year he conducted what he described as "informal field anthropology" while traveling, often by foot, across Burma, Western China, Tibet, and North India. Ki picked up languages en route. Cammann's lifelong research interest in Tibetan art was forged during that year, when he catalogued the Tibetan collection in the Western China Union

University Museum in Chengdu. His return to the United States via Europe led to his assistance in catalogues of the

Tibetan collections of the British Museum and Mus?e de l'Homme in Paris. Eventually he would also catalogue the Tibetan holdings of the Field Museum in Chicago and the National Museum of Denmark.

Ki enrolled in Harvard Graduate School and was awarded a master's degree in 1941, but his graduate career was cut short

by the bombing of Pearl Harbor. Already in the Naval Reserve,

Ki was sent as a naval officer on special assignment to Western China and Inner Mongolia. His wartime experiences became the subject of his first book, The Land of the Camel, published in 1951.

After the war, Cammann returned to graduate work, this time at Johns Hopkins. He came to the University of Pennsylvania as a Lecturer in Chinese Studies in 1948, and upon receipt of his Ph.D. the following year was appointed assistant professor. Schuyler Cammann's entire academic career was

spent at the University of Pennsylvania. At the age of 70, he retired as Professor Emeritus in the Department of Oriental Studies and Curator Emeritus in the University Museum.

During Ki's first decade at Penn his time was spread among the four areas that would characterize his life and scholarly interests from then on. He was an excavator, journal editor,

member of learned societies, and television personality.

In 1951 he did archaeological reconnaissance for potential digs in Thailand, Cambodia, Java, Bali, India, and Pakistan and he was a member of University Museum excavation teams at Gordion and Kunduz in 1953. In the later 1950s he was ajournai editor and then vice president of the American Oriental Society. He

was also a fellow of the American Council of Learned Societies and the American Anthropological Association. Eventually he became director of the Council for Old World Archaeology and director of the Far Eastern Association (predecessor to the Association for Asian Studies). During his career Cammann also served as president of the Philadelphia Anthropological Society and twice as president of the Philadelphia Oriental Club.

Participation in the last two organizations was typical of the role Schuyler Cammann enjoyed as the local expert in Asian art. It was the CBS Philadelphia television series 'What in the

World" that carried his fame beyond the Delaware Valley. Between 1951 and 1955 ne was a member of the elite panel of art historians, archaeologists,

and connoisseurs who presented themselves at the network: headquarters every Sunday morning to be stumped by obscure treasures or artifacts 01 the Uni

versity Museum Collection. Many who never actually met Cammann still recall his television appearances. Whereas other

panelists would take their time mulling over an object, going through their thinking process before stating what they be lieved it was, and even "hamming it up," rumor has it that

when his turn came Ki would in a sentence tell the audience exactly what was in front of him. No one remembers him ever

making a mistake. Occasionally this led to extra time in the show for which the Museum Registrar had selected a finite

number of objects. Ki returned to television in 1966, this time as narrator for

a forty-four segment series on Southeast Asia. Cammann believed in bringing his material to the public and in making himself accessible to them. Throughout his life Ki offered advice and support for local and distant collectors and rug dealers with all varieties of collections.

In the 1960s Ki Cammann moved near the university and became very much a part of the West Philadelphia university community. He knew every Asian restaurant within a several

mile radius of campus and relished inviting students and classes to accompany him to a favorite or to try a new one. When

pressed, it was clear that he knew restaurants and hotels, as

well as monuments and collections, in the countless countries of his travels.

In the course of his career Schuyler Cammann lectured in almost every country of Europe and was on several occasions a visiting professor or lecturer there. He wrote four books, several exhibition catalogues, and so many articles and reviews that even he lost track of some of them. The bibliography that

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follows has been selected from his own records. Ki once described himself to a university colleague who

audited several of his courses as the "last generalist." This label surely characterizes the breadth of his scholarly interests?

magic squares, Chinese costume, toggles, badges, virtually every aspect of Chinese symbolism, rugs, numerous ventures into the arts of West, North and Central Asia, and what were

his primary countries of research, Tibet, Mongolia, and China. This inclusive attitude toward his research was very much a part of his personality. He had a genuine love of exploration of the unknown as well as the desire to share his discoveries

with groups beyond the scholarly community. A devoted core of adult students occasionally accompanied Ki on his travels.

Upon his death the outpouring from this group and others of Ki's personal letters and journalistic accounts of every Asian and European trip attest to his commitment to and impact on a population far beyond his colleagues. A religious man and devoted father of five and later grandfather of six, Ki was also known to take children or grandchildren along on his travels.

Those who knew Ki might have expected him to die on the back of a camel in Mongolia. His passing marks the near drawing to a close of a generation of scholars of Asian art who

gained much of their knowledge by independent travel and research in Asia before World War II, and who felt it their purpose?and were bold enough?to conduct research ac

cording to the broadest definition of the field. Even among this elite group Ki was extraordinary in the variety of his interests.

Nancy Shatzman Steinhardt University of Pennsylvania

Selected Writings

Books

The Land of the Camel: Tents and Temples of Inner Mongolia. New York: Ronald Press, 1951.

Trade Through the Himalayas: Early British Attempts to Open Tibet (Ph.D. thesis, revised). Princeton: Princeton University Press, 1951,

republished by the Greenwood Press, Westport, CT.

China's Dragon Robes. New York: Ronald Press, 1952.

Substance and Symbol in Chinese Toggles. Philadelphia: University of

Pennsylvania Press, 1962.

Articles

China: On the Decoration of Modern Temples in Taiwan and Hong Kong. Journal of the American Oriental Society 8 (4) (1968): 785-790.

Symbolism in Far Eastern Art. Encyclopaedia of the Arts, New York, 1946, pp. 979-984.

Types of Symbols in Chinese Art. In Arthur Wright (ed.), Studies in Chinese Thought, Chicago, 1953, PP- 195?321.

The Symbolism in Chinese Mirror Patterns. Journal of the Indian Society of Oriental Arts (Calcutta, I953)".45~63.

Chinese Mirrors and Chinese Civilizataion. Archaeology 2 (3) (i949):ii4-i20.

A Rare T'ang Mirror. The Art Quarterly 9 (2) (Spring i946).*93-ii3. The "TLV" Pattern on Cosmic Mirrors of the Han Dynasty. Journal of the American Oriental Society 68 (4) (1948): 159-167. Lion and Grape Patterns on Chinese Bronze Mirrors. Artibus Asaie 16

(Ascona, Switzerland, i953):265-29i.

Significant Patterns on Chinese Bronze Mirrors. Archives of the Chinese Art Society of America 9 (1955) .-43-62.

Abstract Symbols: Some Early Chinese Symbols of Duality [The Lo-shu, Ho-t'u, and the Eight Trigrams]. History of Religions 24 (3) (February

i985):215-254.

Symbolic Expressions of Yin-Yang Philosophy. In Charles LeBlanc and Susan Blader, Chinese Ideas about Nature and Society: Studies in Honour

of Derk Bodde, Hong Kong: Hong Kong University Press, 1987, pp. 101-116.

The Eight Trigrams: Variants anda Their Uses. History of Religions 29 (4) (May 1990)301-317.

Magic Squares: The Evolution of the Magic Square in China. Journal of the American Oriental Society 80 (2) (i960): 116-119. The Magic Square of Three in Old Chinese Philosophy and Religion. History of Religions 1 (1) (i96i):37-8o. Old Chinese Magic Squares. Sinol?gica 7 (1) (1962): 14-53. Islamic and Indian Magic Squares. History of Religions, Part I (Islamic Squares), 8 (3) (1969): 181-209; Part H (Hindu and European), 8 (4) (i969):27i-299.

Substances: Metal, Ivory, Hombill, Jade, etc.: Archaeological Evidence for Chinese Contacts with India in the Han Dynasty. Sinol?gica 5 (1) (Basel, Switzerland, 1956):!-19. The Bactrian Nickel Theory. American Journal of Archaeology 62 (4) (i958):409-4i4

The Animal Style Art of Eurasia (Ordos Bronzes). Journal of Asian Studies 17 (2) (February i958):232-239. The Story of Hornbill Ivory. Bulletin of the University Museum is (4) (December 1950): 19-47.

A Rare Jade Book [a Manchu emperor's edict on jade panels]. Expedition 22 (3) (Spring i98o):27~33. Magic and Medicinal Woods in Old Chinese Folk Carvings. Journal of American Folklore 47 (292) ( 1961): 116-125.

Chinese Impressed Gourds, Reconsidered. Oriental Art n.s. 10 (4) (Winter I964):217-224.

Costumes and Textiles: Cosmic Symbolism on the Robes of the Ch'ing Dynasty. In E. B. Dyer (ed.), Art and Thought [Coomaraswamy Memorial Volume], London, 1948, pp. 126-129.

Origins of the Court and Official Robes of the Ch'ing Dynasty. Artibus Asaie 12 (3) (Ascona, Switzerland, 1949): 189-201.

Imperial Robes of the Later Ch'ing Dynasty. Oriental Art n.s. 3 (1) (1950)7-16.

A Robe of the Ch'ien-lung Emperor. Journal of the Walters Gallery 10

(i947):9-i9

Chinese Court and Dragon Robes [an Early Ch'ing image robe]. Connoisseur 126 (519) (December i95o):2o6, 220.

The Making of Dragon Robes. T'oung Pao n.s. 40 (3) (i95i):297~32i. Presentation of Dragon Robes by the Ming and Ch'ing Courts for

Diplomatic Purposes. Sinol?gica 3 (3) (1955): 193-202.

The Symbolism of the "Cloud Collar" Motif. The Art Bulletin 33 (1) (March 1951): 1-9.

A Rare Ming Textile in Sweden. Archives of the Chinese Art Society of America yj (i963):33~37 Two Rare Ming Textiles. Oriental Art n.s. 10 (1964): 175-180. Notes on the Origin of Chinese K'o-ssu Tapestry. Artibus Asaie 11

(i948):90-i09.

Embroidery Techniques in Old China. Archives of the Chinese Art Society of America 16 (1962): 16-40.

Chinese Badges of Rank: The Development of the Mandarin Square.

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Harvard Journal of Asiatic Studies 8 (2) (August 1944)71-130. Chinese Mandarin Squares. Bulletin of the University Museum 17 (3) (June

i953):5-6o.

Birds and Animals as Ming and Ch'ing Badges of Rank. Arts of Asia 21 (3) (May-June 1991):88-94.

Ming Festival Symbols. Archives of the Chinese Art Society of America 7

(i95i):66-70. Some Strange Ming Beasts. Oriental Art n.s. 11 (3) (i956):94-i02.

Chinese Costume Accessories: Chinese Belt Toggles. Oriental Art n.s. 8

(2) (i962):72-78. Chinese Inside-Painted Snuff Bottles and Their Makers. Harvardjournal

of Asiatic Studies 20 (Spring i957):295~326. Mongolia and Tibet: Mongol Dwellings, with Special Reference to Inner

Mongolia. In Aspects of Altaic Civilization, Indiana University Ural-Altaic

Studies, 23 (Bloomington, IN, 1963): 17-22.

Chess with Mongolian Lamas. Natural History 55 (9) (November

I946):407-4H A Prince of the Lama Church (in Inner Mongolia). University Museum

Bulletin 14 (2) (1949): 19-32. The Panchen Lama's Visit to Peking in 1780. The Far Eastern Quarterly 9 (1) (November i949):248-263. New Light on Hue and G?bet: Their Expulsion from Lhasa 1846. The Far Eastern Quarterly 1 (4) (August i942):248-263

The Paradise of Bhaishajyaguru (in Lama paintings). Gazette des Beaux

Arts series 6, vol. 5 (Paris and New York, 1944), pp. 283-298.

Suggested Origin of the Tibetan M?ndala Paintings. The Art Quarterly 13 (2) (1950)1107-119.

The Four Great Kings of Heaven (Deva kings in Lama Buddhist art).

Journal of the West China Border Research Society, Part I, 9 (1937): 100

102; Part II, 11 (1940).

Chinese Painting: A Ming Dynasty Pantheon Painting. Archives of the Chinese Art Society of America 18 (1964) 3 8-46.

On the Decoration of Modern Temples in Taiwan and Hong Kong.

Journal of the American Oriental Society 88 (4) (i968):785-79o.

Near Eastern Carpets and Rugs: Cosmic Symbolism on Carpets from the

Sanguszko Group. In Peter Chelkowski (ed.), Studies in Art and

Architecture of the Near East in Honor of Richard Ettinghausen. New York:

New York University Press, 1974, pp. 181-208.

The Systematic Study of Oriental Rugs: Techniques and Patterns.

Journal of the American Oriental Society 95 (2) (i975):248-26o.

Religious Symbolism in Persian Art [involving rugs]. History of Religions J5 (3) (Winter 1976): 193-208.

Paradox in Persian Carpet Patterns. In Proceedings of the International

Conference on Oriental Carpets Held in London, June 1976, London, 1978.

The Interplay of Art, Literature, and Religion in Safavid Symbolism.

Journal of the Royal Asiatic Society of Great Britain and Ireland (London), no. 2 (1978): 124-136.

Rebus (Symbols). Encyclopaedia Britannica (1962-1973 editions), 19, 13.

Remembering Again: Life and Works of Ananda K. Coomaraswamy. Parabola 3 (2) ( 1978)184-91.

Schuyler V. R. Cammann also was the author of 80 more articles and

about 50 book reviews.

Myron Folk, Jr. The Asia Society and the Archives of Asian Art join in sorrow to announce the death of Myron Falk, Jr., known to all as Johnny. An avid collector of Chinese art, a

founding member of the Archives of Asian Art, and an active supporter of many Asian arts organizations,

Johnny will be missed by all of us. A memorial article will appear in the 1993 Archives of Asian Art. We extend our condolences to his family and friends.

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