What's Happening in Asian Art...: Participant News

Secret Korean Art Collection From Hiroshi Yanagi Oriental Art

July 28, 2021

Blue and white ceramic jar with phoenix design, 29.5 x 41cm , Yi Dynasty, 18th century, Published; “Blue and White Ceramics from Late Choson Dynasty” (Museum of Oriental Ceramics, Osaka), Courtesy of Hiroshi Yanagi Oriental Art

July 17-August 17

Hiroshi Yanagi Oriental Art will launch a new online exhibition from 17th July in conjunction with Asia Week New York Summer 2021 Exhibition: Shades of Blue. The gallery usually introduce Japanese art at Asia Week New York in March, but they also handle Korean art. This is Hiroshi Yanagi Oriental Art's first exhibition of Korean works. Shown above is another blue and white piece in addition to their Dragon jar in Asia Week New York Summer 2021 Exhibition.

For more detail, https://www.h-yanagi.com/korea/

The History of Ōhi Ware with Ōhi Chōzaemon XI at Onishi Gallery

July 26, 2021

BLUE AND WHITE OHI CEREMONIAL VESSEL “SONSU 01", 2021, stoneware, h. 8 1/2 x w. 13 1/2 x d. 6 1/4 in., (21.6 x 34.4 x 15.8 cm)

From 3 July to 31 August, Onishi Gallery is pleased to present, The History of Ohi Ware: Ohi Chozaemon XI, featuring works from the 11th generation head of the iconic pottery ware family based in Kanazawa. Steeped in rich history and tradition, Chozaemon XI uses the generational knowledge passed on by his ancestors to elevate Ohi ware to a contemporary realm.

In 1666, Lord Maeda Tsunanori of the Maeda clan requested Senso Soshitsu, the fourth-generation Urasenke tea master to teach him the art of tea ceremony in the Kaga Domain. Ohi Chozaemon accompanied Senso on this assignment and started producing tea bowls with clay sourced from Ohi, an area outside of Kanazawa.

Ohi Chozaemon I was a direct descendant of the master potter Raku Chojiuro. Combining his learned Raku techniques with the tutelage of Senso Soshitsu, Ohi established a unique kiln of Raku tradition that was unprecedented in Kanawawa at the time.

Click here to explore the viewing room

Object in focus

July 24, 2021

Manish Pushkale, River, Acrylic on canvas, 2021, 122 x 297 cms, courtesy of Akar Prakar

Manish Pushkale (b. 1973 in Bhopal, India) lives and works in New Delhi. As an artist, Pushkale has made significant contributions to contemporary art practices through his unique approach. He has developed a language of abstraction that carries an imprint of his own, rooted in the Indian aesthetics.

His works have been widely exhibited in India and Internationally over the last 25 years. He represented the country at the Festival of India in France (2016), with an exhibition at Musée de Guéthary, with Akar Prakar and ICCR. He has also exhibited his work along with his guru S.H. Raza on multiple occasions, including the Venice Biennale (2010). He is the recipient of many awards and residencies, such as a fellowship at the Nantes Institute of Advanced Study (2014), and Grand Award, Bharat Bhavan Biennale, Bhopal (2018). He is a trustee of The Raza Foundation and has written books and columns on art.

To view Akar Prakar's current show of his work, click here.

Asia Week New York Presents The Color that Changed the World: The Impact of Blue in Asian Art Webinar Thursday, July 29, 5:00 p.m. EDT

July 24, 2021

Mizusashi (Fresh Water Jar) with Handle, Ko-sometsuke ware, Jingdezhen kilns, Jiangxi province, China, Ming dynasty, 17th century, Porcelain decorated with underglaze cobalt blue, D 20.3 x H 26.4 cm, Courtesy of Koichi Yanagi Oriental Fine Arts

First produced by the Egyptians over 6,000 years ago, blue pigment has been a prized component in some of the greatest works of art in world culture and Asia ranks high among them. A distinguished panel of specialists and curators in Asian art will present perspectives on the development and impact of cobalt blue, indigo and dayflower in their specific fields of Chinese and Japanese art.

Says Dessa Goddard, Chairman of Asia Week New York and discussion moderator: “Asia Week New York is delighted to host this lively presentation with some of the world’s top authorities on the history, composition, use and aesthetic appeal of the color blue in Asian art.”

To reserve a spot, for Thursday July 29, at 5:00 p.m. (EST) click here

Monika Bincsik is Diane and Arthur Abbey Associate Curator for Japanese Decorative Arts at The Metropolitan Museum of Art, New York. She has organized several exhibitions for the museum, notably Discovering Japanese Art: American Collectors and The Met (2015), Japanese Bamboo Art: The Abbey Collection (2017), and Kyoto: Capital of Artistic Imagination (2019). She has published numerous articles on Japanese decorative arts and collecting history and was co-author and co-curator of The Tale of Genji: A Japanese Classic Illuminated (2019).

Steven Chait is the President of Ralph M. Chait Galleries, Inc. in New York City. The gallery, founded by their namesake and Steven’s grandfather, Ralph M. Chait in 1910, is the oldest specialist dealing in fine antique Chinese porcelains and works of art in the United States. Over its remarkable long history, the gallery has worked with and sold to museums and private collectors throughout the world.

Joe V. Earle was Vice-President and Director of Japan Society Gallery in New York from 2007 to 2012 and has held leadership positions in Asian art departments at the Victoria and Albert Museum, London, and the Museum of Fine Arts, Boston. Now based in London, he works as Senior Consultant for Bonhams in the U.S. and UK and advises collectors and dealers on three continents. He has also resumed his former career as an author of Japanese art catalogues, with ten titles published over the last six years.

Denise Patry Leidy who received a doctorate from Columbia, is currently the department head, and Ruth and Bruce Dayton Curator of Asian Art, at the Yale University Art Gallery. She has also served as a curator in the Museum of Fine Arts, Boston and the Asia Society, as well as in The Metropolitan Museum of Art where she was the Brooke Russell Astor Curator of Chinese Art (emerita). Leidy, who is an active lecturer, has also curated numerous exhibitions including Ceremonial Dress of Southwest China, Japan’s Global Baroque, Global by Design: Chinese Ceramics from the R. Albuquerque Collection, Silla: Korea’s Golden Kingdom, The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, Mother-of-Pearl: A Tradition in Asian Lacquer, and Defining Yongle: Imperial Art in Fifteenth Century China. Her publications include How to Read Chinese Ceramics, The Art of Buddhism: An Introduction to Its History and Meaning, Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan Museum of Art, Mandala: The Sacred Architecture of Enlightenment, and the forthcoming Celadon on the Seas.

Veronica Miller has been a specialist in 18th-20th c. Japanese prints since she began training with Herbert Egenolf in Düsseldorf, Germany in 1992, following a brief career in marine biology. She has been the owner of Egenolf Gallery Japanese Prints (member of the IFPDA and Ukiyo-e Dealers Association of Japan) since 2002. Museum clients have included the Rijksmuseum Amsterdam, the Art Institute of Chicago, the Portland Art Museum, and the Fine Arts Museums of San Francisco, to name a few. A specialist in the art of Kawase Hasui (1883-1957), she has been the main source of René and Carolyn Balcer’s near-complete collection of Hasui, which now resides at the Virginia Museum of Fine Arts. She lives with her husband, David Mota, in California.

Songtsam Hotels Resorts Tours Opens a Youth Wildlife Photography Training Camp in Southeastern Tibet

July 22, 2021

The award-winning luxury hotel group, Songtsam Hotels Resorts Tours in the Tibet and Yunnan Provinces of China announced the opening, this August (2021), of a Youth Wildlife Photography Training Camp in Southeastern Tibet. Songtsam and its partners will continue the 17-year-old Chinese Wildlife Photography Training Camp of Wild China, and combine the professionalism of Qixing Camp Education for youth nature education with photography to create a brand new, Youth Wildlife Photography Training Camp. In this training camp, young people will have the opportunity to follow the master photographers/nature teachers and learn about the wild animals and plants living in this area of Tibet where glaciers and forests are intertwined, and snow-capped mountains and meadows echo. This photography training camp will enable these young photographers to locate and photograph rare and beautiful species such as the brown-tailed rainbow pheasant, red goral, and the Tibetan Cypripedium. This unique photography camp will encourage them to discover the beauty and vitality of the world around them, not just through a lens, but in real life.

Golden snub-nosed monkey

After 20 years of growth and expansion, Songtsam now plans to establish four Nature Centers which will also play a major role in the Youth Wildlife Photography Training Camp program. One will be located in Jingdong and the others in Shangri-La, Bome, and Namcha Barwa. Most of the staff at Songtsam Lodge Bome and Songtsam Lodge Namcha Bawa are already very knowledgeable about local habitat, nature, and environment since most are from the surrounding villages. With Songtsam’s exquisite cuisine, comfortable rooms and warm hospitality, camp participants will have an opportunity to relax and recharge while they discover more of nature’s wonders. Songtsam’s Nature Centers "from rainforest to snow mountain" will provide a rare opportunity to be surrounded by natural wonders and be used as a gateway for more people to observe and understand nature firsthand.

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

Ralph M. Chait Galleries in the Nantucket Summer Antiques Show

July 21, 2021

RARE CHINESE TURQUOISE GLAZED PORCELAIN FIGURE OF A YOUTH RIDING UPON A LEAPING CARP, Ca: early 19th century, Height: 7 inches (18 cm.), Courtesy of Ralph M. Chait Galleries.

The Show runs from August 6 - 9 with a Preview Party on the evening of August 5 at the Nantucket Boys & Girls Club, located at 61 Sparks Avenue.

Ralph M. Chait Galleries will be displaying a fine variety of antique Chinese porcelain, pottery, export silver, scholar's rocks, and works of art. They look forward to exhibiting in-person once again, and seeing many of you there!

Click here to view show website

Asia Week New York Summer 2021 Exhibition: Shades of Blue goes live today at 4pm EDT!

July 15, 2021

Utagawa Hiroshige (1797−1858), Kinkizan on Enoshima Island in Sagami Province (Sōshū Enoshima Kinkizan), Color woodblock print: aiban yoko-e uchiwa-e, 8⅞ x 11½ in. (22.5 x 29.2 cm), courtesy of Sebastian Izzard LLC Asian Art

Asia Week New York is excited to present our Summer 2021 Exhibition: Shades of Blue, which explores the many ways the color blue, especially in combination with white, transformed Asian Art. First produced by the Egyptians 6,000 years ago, the discovery of blue pigment, in the form of cobalt blue and indigo dyes, led to the creation of many now classic styles of decoration in Asian art. For example, blue and white porcelain became a major style of decoration from Safavid Persia to the Yuan, Ming and Qing dynasties of China and later throughout Asia, including Vietnam, Japan and Korea. Much admired throughout the world, it was also imitated in Europe.

In the early 19th century with the introduction of Prussian blue, a genre of Japanese prints, known as aizuri-e, exclusively used blue, while indigo dyes were extensively used in many Asian textiles, notably in the rustic textiles of rural Japan and the tribal textiles of Southeast Asia and China.

The online exhibition, which features one work of art from each of the 29 galleries and 6 auction houses–Bonhams, Christie’s, Doyle, Heritage, iGavel and Sotheby’s, goes live today at 4pm and runs until August 15.

Click here to view the exhibition

Zoom Panel Discussion at Joan B Mirviss LTD

July 12, 2021

Ajiki Hiro (b. 1948),Teabowl, 2010, Glazed stoneware with gold lacquer, 4 x 4 1/2 in.

Golden Renewal: Understanding Kintsugi Repair
    Thursday, July 22nd at 5pm EDT

Alluring and intriguing, kintsugi has lately caught on in Western popular culture and has shown up in various conversations well beyond art. For centuries, this Japanese form of lacquer repair with gold has been used to restore functional ceramics. Meaning ‘gold joining,’ kintsugi is interconnected with the long history of tea culture and the craft tradition in Japan. More recently, kintsugi has found resonance with those who seek a deeper meaning in the golden veins running along the cracks of a once-broken plate or cup. Our diverse panelists will illuminate the many aspects of kintsugi that will allow us to better understand its origins, technique, and application for collectors and connoisseurs of Japanese art. 

    Mina Brenneman, collector of ceramics
    Meghen M. Jones, Professor of art history at Alfred University
    Bonnie Kemske, author of Kintsugi: The Poetic Mend
    Gen Saratani, lacquer artist and kintsugi specialist

Click here to register for the event

A confirmation email with the invitation link will be automatically sent to you once you register.

Songtsam Hotels Resorts Tours, launches sustainability initiatives

June 30, 2021

Songtsam Meili Lodge

Songtsam Hotels Resorts Tours, a boutique luxury group in Tibet, has been firmly committed to sustainability and to supporting local communities since its founding 20 years ago by Baima Duoji. At the newly opened Songtsam Lodge Namcha Barwa, the goal is to help improve the Dalin Village’s living standards and support local development.

Another initiative has been to preserve the 2000 year old tradition of making Nixi Black Pottery in Shangri-La City, Diqing Prefecture.  Songtsam's guests are taken to visit the traditional Tibetan villages of Nixi to experience pottery-making firsthand. They often purchase these vessels, thereby contributing income to the Nixi craftsmen and to the local village.  

Songtsam pays special attention to environmental sustainability in all aspects of the design and construction process of their hotels and lodges.  Songtsam Lodge Ranwu, with an altitude of approx. 13,779 feet, stands at the highest altitude of all Songtsam hotels so far. In order to preserve the natural environment, the building was designed as modular prefabrication, embedded under a high cliff, hidden from sight, despite the difficult construction challenges.  Most of Songtsam’s lodges are brick-wood structures and are made of wood recycled from abandoned buildings or from trees that have naturally fallen, due to Tibet’s logging ban. The buildings are of a similar size and architectural style to those in Tibet’s villages and fit into the local environment.


As part of their involvement with the preservation of the natural ecosystem, Songtsam organizes tours for their guests to enjoy the magnificent natural scenery and learn about the complex plants within the Hengduan Mountains in the area of the Three Parallel Rivers.

Cooperating with Baima Snow Mountain National Nature Reserve, Songtsam launched the Tibetan Eared Pheasant Charity Program to restore the population of the rapidly disappearing protected species. The first group of Tibetan-eared pheasants farmed and nurtured by the Songtsam staff have been successfully released back to nature.

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

New exhibition at Joan B Mirviss LTD

June 28, 2021

Sugiura Yasuyoshi (b. 1949)  Magnolia Hypoleuca  2016  Glazed stoneware  8 5/8  x 18 1/8  x 18 1/2 in.

Summer Sculptures, at Joan B Mirviss LTD, showcases the many ways that earth, through fire, can appear to transform into completely different materials.  The featured artists take advantage of this elemental change to shape clay into strikingly inventive sculptures. Some go further in exploiting these unexpected transformations by adding textures or patterns to evoke wood, metal, rubber, glass, stone, or textile.

Through the use of a rare type of gray clay and multiple firings, Itō Tadashi (b.1952) creates sculptures that have the appearance of antique metal. The large geometric works of Imai Hyōe (b. 1951), with their hemispheres of concentric black bands, suggest the elasticity of rubber. Rectangular decorations in matte glazes on the tiered block form by Sawada Hayato (b. 1978) emphasize its wood-like appearance, as if it were hewn rather than molded.

Celadon glaze has long been prized for its translucent quality reminiscent of glass, a trait that Kino Satoshi (b. 1987), Minegishi Seikō (b. 1952), and Yagi Akira (b. 1955) highlight in their various light-catching sculptures.

Fujino Sachiko’s (b. 1950) background in textiles informs her approach to folding and pleating clay with the intricacy of fabric, which in her latest sculptures she employs to great effect.  And in a rare departure from her biomorphic forms, a recent work by Katsumata Chieko (b. 1950) looks like an encrusted stone pillar excavated from ancient ruins, an effect enhanced by its ridged monolithic form and textured gray surface.

Nowhere is the utter transformation of clay more evident, however, than in the flower forms of Sugiura Yasuyoshi (b. 1949). Sugiura’s stunning, oversized summer blooms appear complete with delicate petals, curling leaves, and individual stamen. His naturalistic sculptures point to the real mysteries that can arise from the earth, as each of our artists explore the endlessly surprising transformations possible in clay.

The exhibition can be viewed in the gallery and online here (https://www.mirviss.com/exhibitions/summer-sculptures)

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