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Editorial

In this issue Kyoto Review is proud to introduce selected essays originally published in Chinese by the different institutes and centers of Southeast Asian Studies in the People's Republic of China and has added Chinese to its list of languages. It therefore carries a "special flavor" that reflects the depth and span of our Chinese colleagues examination and understanding of the region. They give readers an insight as to how Chinese Southeast Asia scholars view the region from their end, especially at a time when their country is becoming a major presence in Southeast Asia.

This special issue was made possible by the collaboration between our colleagues from these institutes and centers (a brief description of each institution is also included in the issue) and the staff of the Center for Southeast Asian Studies, Kyoto University.  In our discussions we realized that for the Kyoto Review of Southeast Asia to make an impact on South and East Asia, it must add broaden its translation base to include Chinese. This we hope will become a permanent feature of all future issues.

This issue also includes essays on the Filipino-Chinese artists couple Hau Chiok and Sy Chiu Hua and their distinctive painting styles, the Chinese author Bai Ren, Rustom Bharucha's insights on the Bengali poet Rabindranath Tagore and the Japanese curator Okakyra Tenshin, and finally Prof. Sun Laichen's notes on his current research for pre-modern Chinese-style guns in Asia, particularly in Vietnam.

The next issue will focus on the manner in which local communities in Southeast Asia interact with and respond to economic, political, cultural and social changes that affect the larger settings that they live in (the nation-state, the border-region, the ASEAN community, etc.). We welcome contributions written in original Bahasa Indonesia/Malayu, Chinese, English, Filipino, Japanese, or Thai.

Donna J. Amoroso

Editor