all content © Rupert Arrowsmith 2018, all rights reserved
© Rupert Arrowsmith 2015, all rights reserved
I cannot remember when I last came upon on a book as stimulating as Rupert Arrowsmith’s Modernism and the Museum: Asian, African and Pacific Art and the London Avant-Garde … Arrowsmith is that rare thing, an art historian who is equally well informed about the traditions of ‘West’ and ‘East’, ‘modern’ and ‘pre-modern’.”
“…the larger-than-life character of Rupert Arrowsmith, the Burma-based British cultural historian who has been twice ordained as a Buddhist monk, and who got about the festival in crisp white linen, looking and sounding like something out of Evelyn Waugh.”
“Arrowsmith is well versed in most, if not all, the many aspects of global artistic production … and writes knowledgeably about Asian, African, and Pacific objects as well as about London Modernism … It is a rare scholar who can move with such expertise across these fields, each with its own historiography.”
“Arrowsmith’s finely written introduction [to The Face of the Buddha] complements Empson’s style in its mix of erudition and wit, and provides a compelling account of a unique journey which has its mirror in many others.”
"The introductory essay [to The Face of the Buddha] by Myanmar-based scholar and poet Rupert Arrowsmith is a tour de force of insights into [William] Empson, Buddhist art and Buddhism itself."
“The Face of the Buddha is brilliantly imaginative, grand in its intellectual scope, fired by intense convictions about religion, art and politics. Hats off to the British Library for spotting it, Rupert Arrowsmith for his fine editorial work, and OUP for its richly illustrated edition. We’re only in June, but this must surely be one of the books of the year.”