What's Happening in Asian Art...

Oliver Forge Brendan Lynch Opens New Exhibition

July 1, 2022

Yes, Wonderful Things, Oliver Forge Brendan Lynch
July 1-8, 2022

A hundred years ago, in November 1922, these words were uttered by Howard Carter, when he and Lord Carnarvon, after years of searching, finally peered into the tomb of Tutankhamun in the Valley of the Kings which had remained miraculously untouched and well-preserved for millennia. A century earlier in September 1822, Jean-François Champollion, the French scholar often called the Father of Egyptology, revealed his ground-breaking decipherment of Egyptian hieroglyphs laying the foundation for the study and understanding of the ancient Egyptians with the words “I’ve done it”.

To commemorate these two momentous events, Oliver Forge and Brendan Lynch in collaboration with Claire Brown Art, announce an exhibition devoted exclusively to Ancient Egyptian Art which will be held at our new premises, 16-17 Pall Mall.

Read more, including an online catalogue, click here.

Yale University Art Museum Presents New Exhibitions

June 30, 2022

Ren Yi, Demon Queller, Zhong Kui, 1882, ink and color on paper, 65 ½ x 30 ¾ in.
The Clyde and Helen Wu Collection of Chinese Painting, Gift of Dr. Clyde Wu

The Gallery’s collection of Asian art comprises nearly 8,000 works from East Asia, South Asia, continental Southeast Asia, Iran, Iraq, and Turkey and spans the Neolithic period to the 21st century. Highlights of the collection include Chinese ceramics and paintings, Japanese paintings and prints, and Indian and Persian textiles and miniature paintings. Examples from the collection are now on view in three exhibitions through November 2022.

Understanding an Eighteenth-Century Indian Album
This exhibition brings together several manuscript pages featuring exquisite paintings of musical modes, given to Yale in 1939 and 1940. The display locates their production in late 18th-century northern India and presents a selection of textiles and ceramics similar to those illustrated in these pages.

Chinese Painting between War and Revolution, 1830–1950
This show highlights the vibrancy and experimentation with Western and Japanese visual traditions that characterized Chinese painting during the tumultuous period between the Opium War (1839–42) and the establishment of the People’s Republic of China in 1949.

Sakura: Cherry Blossoms
Celebrating the varied rendering of cherries in paintings, woodblock prints, lacquer, and metalwork, Sakura: Cherry Blossoms explores the longstanding Japanese fascination with the beauty of this delicate blossom as a symbol for the ephemeral nature of life and its pleasures.

In addition, the recent gift Rain Washes the Body, Enlightenment Cleanses the Soul (2017), a painting by contemporary Korean artist Kim GuGu, is temporarily shown with stone and bronze sculpture from Asia’s multifaceted religious traditions. These less fragile sculptures, together with ceramics and metalwork objects from across Asia, remain permanently on view.

Read more, click here

Final Days for Philadelphia Museum's Authentic:
Truth and Perception in Chinese Art

June 30, 2022

Crystal Ball, 19th–early 20th century, Chinese, 1944-20-2a,b

Authentic: Truth and Perception in Chinese Art, Philadelphia Museum of Art
Concludes July 3, 2022

Explore the act of copying and how attitudes toward authenticity are nuanced and culturally specific. Discover the intention behind the work and compare contemporary views on authenticity with those of the past. Highlights include enamel-decorated imperial porcelains, rock crystal carvings and woodblock prints.

Songtsam's Meili Lodge

June 29, 2022

Songtsam's Meili Lodge—A Sacred and Breathtaking Tibetan Mountain Retreat

Every year Tibetans and travelers from all over the world make their journey to worship at Mount Kawagebo, the major peak of the Meili Snow Mountain range and one of the holiest mountains in the larger Tibetan region. Songtsam Lodge Meili was built in this spectacular area. A highlight is waking up and experiencing the morning sunrise. First golden sunlight shines over Mount Kawagebo and then spreads quickly over the 13 peaks. Against the backdrop of the dark-blue sky, the sunrise is considered very holy and only lasts for a few minutes. Rooms are furnished with large comfortable beds, sofas, and timber flooring, providing a warm atmosphere that combines rustic charm with modern comforts. Most rooms also feature a cozy fireplace.

The Meili Snow Mountain range is a sub range of the Hengduan Mountains, which run north to south, marking the boundary between Tibet and Yunnan province. It is remarkable for its impressive chain of glaciated peaks, rising more than 6,000 meters high, and during sunrise and sunset, the soft sunlight illuminates all thirteen peaks. As of today, none of the major peaks have been summited. Standing at 6,740 meters, the main peak, Kawagebo, is the first of the six most sacred mountains and over ten thousand pilgrims make the 240 kilometer trek circumnavigating the mountain each year.

The scenic drive from Shangri-La to Meili winds through lush temperate and alpine forests, crossing the Baima Mountain Pass at 3,292 meters. The Yangtze drainage area lies on one side of the pass and the Mekong on the other. On emerging from the pass onto a steep descending road, the Meili peaks soon appear in the distance. Baima Snow Reserve, a UNESCO designated world heritage sight, is one of the truly wild places left in China. Nearly all of the world’s species of rhododendron originate from this area. There are even a few spots where red pandas and snow leopards roam free.

Songtsam is Asia Week New York's 2022 sponsor.

For more information about Songtsam, visit: www.songtsam.com/en/about

Upcoming Programs at Asia Society

June 29, 2022

Tuan Andrew Nguyen, The Specter of Ancestors Becoming, 2019 4-channel video installation, Commissioned by Sharjah Art Foundation and produced by Sharjah Art Foundation with additional production support from the San Francisco Museum of Modern Art. Courtesy of the artist and James Cohan, New York.

Asia Society Texas
Making Home: Artists and Immigration

Exhibition through July 3
Making Home: Artists and Immigration focuses on immigration and related themes through the works of Phung Huynh, Beili Liu, Tuan Andrew Nguyen, and Amanda Phingbodhipakkiya. The exhibition engages with the individual, lived experiences of immigration through the paintings, prints, drawings, sculptures, and installations of the four featured artists. Making Home centers on the complexities of deeply personal histories of immigration, as the artists consider topics of intergenerationality, the repercussions of colonial histories, dislocation, memory, otherness, belonging, and resilience.

Docent-led tours of Making Home allow visitors to experience art on a personal level, learn about art historical periods and styles, and hear stories associated with the artwork. In-person tours are available for this exhibition at 11am on Saturday, July 2. Also available on Saturday at 10am is a docent-led Architecture Tour of Asia Society's iconic and unique Center designed by Yoshio Taniguchi.
Read more, click here

Asia Society Japan
JapanCraft21: Building a Movement
In-person and online program, July 5 8am Tokyo time/July 4 7pm EDT
JapanCraft21 Director Steve Beimel will take a hard look at the current situation around Japan’s Master Crafts tradition — why the system is faltering, what can be done to turn it around, and the actions that JapanCraft21 is taking.
Read more and register, click here.

CHINA/5000 YEARS at Sotheby's New York

June 28, 2022

A Rare and Large Kesi "Peach" Panel, 19tn-20th century, hanging scroll, 90⅜ x 47¼ in. (229.6 x 120 cm), Lot 71, Estimate: $30,000-40,000

CHINA/5000 YEARS, Sotheby's New York
Online auction June 17-29

CHINA/5000 YEARS features a selection of over 130 Ming and Qing porcelains and textiles, early ceramics, bronzes, jades, Asian and Chinese art reference books, and other Chinese works of art. Highlights include a large famille-rose ‘peach’ vase (Tianqiuping), a late Shang/early Western Zhou dynasty archaic bronze ritual wine vessel (Zhi), a selection of Ming and Qing porcelains from a New York private collection, and a group of early ceramics from a Canadian private collection.

Read more, click here.

Branching Out at Joan B Mirviss LTD Ends Soon

June 27, 2022

Miwa Kyūwa (Miwa Kyūsetsu X) (1895-1981), White Hagi square vase in the form of a handled bucket, ca. 1965, glazed stoneware, 12 1/2 x 6 3/4 x 6 3/8 in.

Branching Out:
The Kaneshige Family and the Bizen Tradition
The Miwa Family and the Hagi Tradition

Joan B Mirviss LTD

Live and online exhibition, closes June 30, 2022

The widespread popularity and distinguished reputations that Japan’s ancient ceramic traditions enjoy today are largely indebted to a core group of mid-twentieth century artistic visionaries: among them, Kaneshige Tōyō (1896-1967) for Bizen ware and Miwa Kyūwa (1895-1981) for Hagi ware. Both men were inheritors to their highly esteemed, long-established, multi-generational family names that had been associated with excellence in their respective ceramic traditions for centuries. Together with scholar-potter Kawakita Handeishi (1878-1963), they co-founded the artistic discussion group Karahinekai in 1942, formed of artists who were dedicated to the recovery of lost techniques from the golden age of ceramics during the 16th century Momoyama period.

The gallery's website includes an online catalogue, as well as links to articles on the show by Ceramics Now, Antiques Trade Gazette, and Yomitime.

Read more, click here

Emi Anrakuji: Ehagaki–Picture Postcard

June 26, 2022

Emi Anrakuji (born 1963), Untitled 8, early 2000s, archival pigment print on a vintage postcard
(circa 1900s), 3 1/2 x 5 3/8 in (8.9 x 13.8 cm) (image), @Emi Anrakuji

Emi Anrakuji: Ehagaki–Picture Postcard, MIYAKO YOSHINAGA
Through June 30

Emi Anrakuji is known for taking obscured and often close-up images of herself (all but her eyes) in mundane surroundings with evocative atmospheres. This exhibition features over 30 color-pigment self-portraits that Anrakuji meticulously printed on vintage postcards (in Japanese, ehagaki – picture postcard) collected by her grandfather at the turn of the last century. The grandfather, a wine importer in Tokyo, frequently traveled to Europe and brought back these postcards, a popular novelty among collectors especially from the 1890s to the 1910s. According to Anrakuji’s family lore, a box of the well-preserved old postcards miraculously survived the 1923 earthquake and the WWII air raids in 1945. On both occasions, the fire burned down the city of Tokyo almost entirely, including her grandfather’s shop. Therefore, these postcards became a family treasure passed down through the generations.

Be sure to read Loring Knoblauch's in-depth review of this exhibition in Collector Daily online, click here.

Read more about the exhibition, click here.

The Afterlife Journey at the Art Institute of Chicago

June 25, 2022

Ksitigarbha Bodhisattva with Six Light Bodhisattvas, Joseon dynasty (1392-1910), 16th–17th century

The Afterlife Journey: Divine Protectors and Guides in Korean Buddhist Painting, The Art Institute of Chicago
In-person lecture by Professor Cheeyun Lilian Kwon
June 30, 4-5pm CDT

Cheeyun Lilian Kwon, professor at the School of Fine Arts, Hongik University, Seoul, will discuss the Ksitigarbha painting in the Art Institute’s collection. Influenced by an unique amalgamation of various sources, Korea adopted a vision of the afterlife that was protected by the Ksitigarbha bodhisattva and accompanied by a host of heavenly beings. In this talk, Professor Kwon will discuss the Ksitigarbha painting in light of the Buddhist tradition that became deeply rooted in Korea for over a millennium. Such paintings acted as central agents in the Buddhist rituals dedicated for the dead in pre-modern Korea.

Professor Kwon teaches in the Arts and Cultural Management Department and the School of Fine Arts, Hongik University, Seoul. She received her PhD in East Asian art from Princeton University and taught Korean and East Asian art at American University and George Mason University. She also served as curator of Korean art at the Asian Art Museum of San Francisco and curatorial consultant at the Freer and Sackler Galleries, Smithsonian Institution.

This program is generously funded by the National Museum of Korea.

Read more and to register, which is required, click here


TAI Modern Presents the Art of Oki Toshie

June 23, 2022

Oki Toshie (born 1976), Rapids, 2017, madake bamboo, rattan, 3.5 x 21 x 13 in.

Oki Toshie, TAI Modern
June 24-July 23, 2022
Opening reception June 24, 5-7pm
Artist's live talk, June 25, 3pm

One of bamboo art’s few female artists presents her first solo exhibition in the United States. This impressive Japanese artist shares her joy, creativity, and drive for beauty and expression with each piece.

Oki Toshie (born 1976) is a self-proclaimed introvert who cherishes the opportunity to communicate through her artwork. Her strongest desire is to create works that will move the hearts of viewers. “I try to balance my personal expression with beauty of form,” she says. “It is a constant process of trial and error, but I am proud to say that I put my heart and soul into each piece I create.”

The last student of Living National Treasure Iizuka Shokansai, her engagement with Japanese bamboo art began at an exhibition she visited while in high school. She was amazed that a utilitarian object such as a basket could reflect artistic vision. “Japanese people are particularly good at expressing themselves within the limitations of a fixed form, such as in haiku and tanka poetry,” says Oki. In a similar way, Oki expresses herself within the constraints of vessel forms, creating elegant and evocative trays and flower baskets.

One of the foremost bamboo artists working in Japan, Oki’s exhibition at TAI Modern includes this year’s Asahi Newspaper Prize winning piece from the Eastern Division. Her works have been included in major museum collections and exhibitions throughout the United States and Japan.

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