What's Happening in Asian Art...: Asian Art History
May 31, 2022
Ganesh Pyne (born 1937), Untitled, watercolor on paper, 4.5 x 3.5 in., Akar Prakar
From the Shadows by Ganesh Pyne, Akar Prakar
Live in New Delhi and online, concludes June 4, 2022
Born and brought up in Calcutta (present-day Kolkata) in 1937, Ganesh Pyne spent years of his life in a crumbling mansion in Kabiraj Row. Growing up during hard and turbulent times in the country, he found his reprieve from the dark reality outside in the mythologies and folktales narrated by his grandmother, Nandarani. The fantastical world created by her stories became the basis of his artistic language years later.
Pyne’s process and practice reflected in this exhibition of largely small format works is a passage into the mystical visual world created by him. The imageries carry within it the fantastical mind of the introverted and sensitive soul. The resoluteness to his art and the commitment to evolution in his practice are both exemplified in this exhibit of an artist regarded as a modern master in the history of Indian Art.
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March 25, 2022
L-R: Bingyi (born 1975), Sea of Stars, 2021, ink on xuan paper, INKstudio; Shinoda Toko (1913-2021), Innovation, sumi-ink, gouache and platinum leaf on canvas, Christie's; Madhvi Parekh (born 1942),
Durga II, 2006, acrylic on acrylic sheet (reverse painting), DAG
This season's Asia Week, which coincided with Women's History Month, included a plethora of works by women artists in a wide variety of materials, art forms, and traditions, and featured artists from all corners of Asia, as well as ones who live outside Asia. While this is in no way a comprehensive list, it will demonstrate how varied and rich the work of women artists is and provide entry points for further investigation.
The artists whose work is illustrated above are three painters who use traditional ideas and/or materials to create new kinds of imagery and express personal perspectives.
Looking back in time, works by women of earlier periods included several woodblock-print-makers, such as Bertha Lum, who were inspired by the Japanese tradition, at Scholten Japanese Art. Thomas Murray remarked that most, if not all, of the fine Indonesian textiles in his exhibition were made by women artisans, especially when they were to be used for ceremonial occassions.
L-R: Lin Suzhen (19th century), Immortal Magu, ink and color on silk, Bonhams; Bertha Lum (1869-1954), Bamboo Road, ca. 1912, woodblock print, Scholten Japanese Art; Iban People, Borneo, Ceremonial Cloth, pua sungkit with Skulls and Dancing Figures, 19th century, cotton; supplementary weft wrapping, Thomas Murray
Visits to the exhibitions shown at DAG and Akar Prakar offered a wealth of works by women painters from South Asia, as both galleries made this the theme of this season's exhibitions. Similarly, the auctions of South Asian modern and contemporary art at Sotheby's and Christie's not only included numerous works by women artists, but many sold well above their estimates. DAG NY director Josheen Oberoi participated in a recorded discussion of this topic with Sarab Zavaleta, East Meets West at Asian Art Week in NYC & Women's History Month, which can be accessed here.
L-R: Jayashree Chakravarty (born 1956), Pulsating, 2020-2021, acrylic, oil, audiotape, plant bark, paper and synthetic adhesive on canvas, Akar Prakar; Meera Mukherjee (1923-1998), Santur Player, 1981, bronze, Sotheby's
Numerous contemporary women artists whose work was on view this week employed art forms other than painting. The materials they used ranged from clay to bamboo to metalwares to textiles.
L-R: Shigematsu Ayumi (born 1958), Yellow Jomon, 2018, stoneware, Dai Ichi Arts LTD; Isohi Setsuko (born 1964), High Mountain, 2019, madake bamboo, rattan, TAI Modern; Otsuki Masako (b. 1943), Silver Vase Yo (Leap), 1998, silver metal carving with gold decoration and shakudo (alloy-copper, gold), Onishi Gallery
Whether rendered in two- or three-dimensional works, figural images that depict women can often have a self-portraiture quality or express some personal aspect of the artist's life. For example, Wonsook Kim has stated that her compositions are often influenced by her experiences in Korea and the United States, Iwasaki Eri's earlier job as a courtroom sketch artist resulted in her employment of intense emotions and humanity's dark side in her works, and Gogi Saroj Pal's self portrait shows a figure looking into a curtained future.
L-R: Wonsook Kim (born 1953), Words of Hope, 2016, oil on canvas, HK Art and Antiques; Iwasaki Eri (born 1968), Cotton Candy, 2019, mineral pigment, gofun, platinum paint on kozo paper mounted on wood panel, Christie's; Gogi Saroj Pal (born 1945), Self-Portrait, 1991, gouache on paper, DAG
The work of women artists is featured in several local museums. Presently on view at Korea Society is a display of the work of contemporary abstract textile artist Wonju Seo . The life and work of Elaine Ildan Choi is presented in a video available online by the Korean Cultural Center. The current exhibition, Japan: A History of Style at the Metropolitan Museum of Art, features a selection of Japanese contemporary metalwares by noted artists Osumi Yukie, Otsuki Masako, and Oshiyama Motoko. Rebel, Jester, Mystic, Poet: Contemporary Persians — The Mohammed Afkhami Collection at Asia Society includes the work of nine women artists, and their art is discussed in an online feature.
November 12, 2021
Samurai armor with dō-maru, Early Edo period, 17th-18th century, courtesy of Giuseppe Piva Japanese Art
Certificate: The armor is accompanied by a certificate of registration as Koshu Tokubetsu Kicho Shiryo (Especially Important Armor Object) no. 1277 issued by the Nihon Katchu Bugu Kenkyu Hozon Kai (Japanese Armor Preservation Society), 2020.11.01
This flamboyant Samurai armor is entirely made of small individual scales (hon-kozane), lacquered in black and gold and laced together with blue, orange, and white silk, in order to create a multicolored pattern.
The helmet (kabuto) is very elaborate, of suji-bachi construction, made of 62 plates joined with hammered rivets, with three gilt-copper shinodare, descending in the front from a rich tehen-no-kanamono (decorative fittings around the edge of the opening at the top of the helmet). The maedate (front ornament) is a classical ken-kuwagata, with stylized horns and a votive sword. The neck protection (shikoro) has the same color-scheme as the whole armor. The cuirass (dō) is of dō-maru type and made into a single piece with individual small scales laced together, which were used in the early suits of armor. As expected in an armor of the early Edo period, the shoulder guards (chū-sode) are small, and the neck protection is of the hineno-type, following the shape of the shoulders.
The suit of armor bears a rare samurai family crest in the design of three white oak leaves. This appears not only on the helmet’s flanges (fukigaeshi), but also on all the gilt-copper support plates (kanamono) of the cuirass.
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October 29, 2021
For those of you who haven't been able to visit the Metropolitan Museum of Art here in New York recently, we are very pleased to share that works from artist and collector Paul Binnie's completed series, A Hundred Shades of Ink of Edo are on view until December 5th in the Japanese Galleries as part of the third rotation of the current exhibition, Japan: A History of Style. The prints are brilliantly displayed side-by-side with stunning examples of ukiyo-e masterpieces that inspired Binnie's compositions—in a way that very few museums would have the ability to do. The complete edition was acquired from Scholten Japanese Art by the Department of Asian Art at the MET thanks to the enthusiasm of John T. Carpenter (the Mary Griggs Burke Curator of Japanese Art) who spotted the prints in their 2017 exhibition: The Body Illustrated: Woodblock Prints, Paintings & Drawings by Paul Binnie.
October 21, 2021
A raja receives two courtiers by night, possibly from the ‘Small Guler’ Bhagavata Purana series, attributed to the Guler artist Manaku and his family, c. 1740-50, Opaque pigments and gold on paper, 17.8 × 28.2 cm, including a narrow orange border, Inscribed in Devanagari on the verso (wrongly): 3 Raga Hindola; Provenance: Ludwig Habighorst collection
October 18 - November 27, 2021
To view the online catalogue, click here
The exhibition is on view Monday-Friday 10am - 5pm
at Francesca Galloway,1st Floor, 31 Dover Street - London W1S 4ND
October 18, 2021
Minol Araki (1928-1210), Cliff and Rice Paddy (detail), 1976, Hanging scroll; ink and mineral colors on paper, Overall size 51¼ x 25½ in. (130.2 x 65 cm), courtesy of Thomsen Gallery
This free event invites the public to visit participating galleries, view their fall exhibitions and attend expert talks led by artists and curators on Madison Avenue & side streets from East 57 to East 86 St.
Due to limited capacity, registration is required to reserve your space at each participating gallery. Galleries are listed in alphabetical order. To register, please click on the green “Book Now” button below. Each gallery visit booking must be done separately.
DAG, 41 East 57 Street, Suite 708 (Madison-Park) (11am-6pm)
The Wonder of India at DAG’s New York gallery presents a selection of works that span the diverse strands of modernism that developed at art centers across India through the 19th and 20th centuries. Including Company paintings, Kalighat Pats, Bengal School, tantra and abstract movements, and the lens of cubism and primitivism – the show is a document of India over two centuries from the introduction of Western academic realism to the Indian vernacular.
Gallery Talk: 12pm, 2pm, 3pm & 5pm: An introduction to different strands of modernism in India in the 19th and 20th centuries, through the lens of the exhibition on view including works by Jamini Roy, MF Husain, Company paintings, amongst many others.
Ippodo Gallery, 32 East 67 Street (Madison-Park) (11am-6pm)
Ippodo Gallery and Barry Friedman Ltd. are pleased to present their first collaborative exhibition: Massimo Micheluzzi: Master of Venetian Glass. The imaginative displays of vases will fill the serene space of Ippodo Gallery. We invite you to see the juxtaposition of a Venetian artist in what may seem to be an unusual space. Witness the transcendence of forms and colors. The variety of shapes and patterns create a lovely amalgamation of ultramodern landscapes. This extensive collection contains about 40 pieces from Barry Friedman Ltd.’s collection and new works which have just arrived from Venice. Massimo Micheluzzi (b.1957) uses traditional techniques to achieve a uniquely modern aesthetic.
Gallery Talk: 3pm: Throughout the exhibition, one can see Micheluzzi’s transformation while keeping with the time-honored Muranese glassmaking methods. This talk will walk through Micheluzzi’s evolution from his earlier monochromatic vessels to pieces that mimic terrazzo, marble, and intarsio inlay.
Kapoor Galleries, 34 East 67 Street, Floor 3 (Madison-Park) (11am-5pm)
Kapoor Galleries presents Incarnations of Devotion for the Madison Avenue Fall 2021 Gallery Walk. The exhibition features an array of Indian miniature paintings as well as a carefully curated selection of artworks from India, Nepal, Tibet and Southeast Asia. Highlights of the exhibition include a bronze Chola-period sculpture of Parvati with 1950s provenance; several outstanding Tibeto-Chinese scroll paintings depicting arhats and tantric deities; and a rare ninth- or tenth-century bronze figure of Tara from Kashmir.
Gallery Talk: 1pm: Come view our Incarnations of Devotion exhibition as gallery owner Sanjay Kapoor provides an overview of the fine Indian miniature paintings in the exhibition as well as a discussion of the carefully curated selection of artworks from India, Nepal, Tibet and Southeast Asia.
Miyako Yoshinaga Gallery, 24 East 64 Street (Madison-Fifth) (11am-6pm)
The “Aged Innocence” series emerged from the NY-based artist’s photo journeys across China, his homeland, between 2013 and 2017. He created a massive image archive in response to the dramatic socio-economic changes he witnessed. The exhibition features over 50 personal images of the historically and culturally complex locales and their inhabitants in the format of small prints and large collages.
Gallery Talk: 2pm & 4pm: Please join us for an informal artist talk by Hai Zhang who will walk you through his current solo exhibition, exploring the concept of memory and practices behind his work. Please feel free to ask him questions.
Thomsen Gallery, 9 East 63 Street (Madison-Fifth) (11am-6pm)
Nature in Ink: Landscape paintings by Minol Araki
Gallery Talk: 11am, 2pm & 4pm: Life and work of Minol Araki (1928-2010), a Japanese artist who painted for pleasure in the Asian literati tradition while being a successful industrial designer.
October 15, 2021
Portland Japanese Garden (Courtesy Portland Japanese Garden)
For centuries people have looked to nature and gardens to provide emotional support, a place to gather to mark important events in their lives, or as an escape from the finite walls of their homes. In The Luxurious Garden and the Gratification of Retreat, a distinguished panel of eminently qualified experts will discuss the origins of these luxurious spaces–designed in the Japanese and Chinese tradition–and their impact on visitors throughout the ages.
“Who at one time or another hasn’t sought out a garden to provide something that enhances their lives?” asks Andrew Lueck, Specialist, Vice President, Chinese Ceramics and Works of Art at Christie’s, who will moderate the discussion. “Whether it’s a tranquil setting at a museum, such as The Astor Court at The Met; the rolling hills of the Huntington Gardens; the waterfall at the Portland Japanese Garden; a private residential refuge; or in their absence, an evocative Japanese woodblock print of a Zen garden, outdoor settings have been providing us with areas of welcome refuge and retreat for centuries.”
Liu Fang Yuan, the Garden of Flowing Fragrance, The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA
Photograph by Phillip E. Bloom, November 2020
The panel includes:
Phillip E. Bloom, the June and Simon K.C. Li Curator of the Chinese Garden and Director of the Center for East Asian Garden Studies at The Huntington Library, Art Museum, and Botanical Gardens in San Marino, CA. A specialist in the history of Buddhist art, gardens, and designed landscapes of China's Song dynasty (960–1279), he received his Ph.D. in Chinese art history from Harvard University in 2013. Prior to joining The Huntington, he served as assistant professor of East Asian art history at Indiana University, Bloomington, and completed a postdoctoral fellowship at the University of Tokyo. His exhibition, A Garden of Words: The Calligraphy of Liu Fang Yuan, is currently on display at The Huntington.
Maxwell K. (Mike) Hearn, Douglas Dillon Chairman, Department of Asian Art, began working at the Metropolitan Museum in 1971, helping oversee the expansion of the Met’s collection of Chinese art as well as major additions to its exhibition spaces, including the Astor Chinese Garden Court, the Douglas Dillon Galleries, and the renovated and expanded galleries for Chinese painting and calligraphy. He has worked on over 50 exhibitions and authored or contributed to numerous catalogues many of which have become essential resources for the study of Chinese art including The Great Bronze Age of China (1980), Splendors of Imperial China: Treasures from the National Palace Museum, Taipei (1996), Along the Riverbank: Chinese Paintings from the C. C. Wang Family Collection (1999), How to Read Chinese Paintings (2008) and Ink Art: Past as Present in Contemporary China (2013). Mike, who received his undergraduate degree in art history from Yale University and his Ph.D. from Princeton, has taught graduate and undergraduate seminars on Chinese painting at Yale, Princeton, Columbia, and the Institute of Fine Arts at New York University. In 2014 he was elected a Fellow in the American Academy of Arts and Sciences.
Marc Peter Keane is a landscape architect, artist and writer based in Kyoto, Japan. His work is deeply informed by Japanese aesthetics and design: simplicity, serendipity, off-balance balance, and natural patinas. Working in situations as diverse as a 350-year-old house in Japan and a contemporary museum in the United States, he designs singular gardens that are both beautiful and contemplative. Keane is also known for his ceramic sculptures and his many books on Japanese gardens and nature including, Japanese Garden Notes, Japanese Tea Gardens, and The Art of Setting Stones.
Andrew M. Lueck has worked in the Asian art auction business for nearly two decades. He is a Specialist, Vice President, in Chinese Ceramics and Works of Art at Christie’s. He resides near San Francisco and works with West Coast collectors and institutions as well as others throughout the country and globe. He has been responsible for bringing to market notable fine Chinese works of art for sale in New York as well as Hong Kong and advises and works with some of the country’s top collectors and institutions.
Since 1999, Katherine Martin has served as the Managing Director of Scholten Japanese Art, one of New York’s preeminent galleries specializing in traditional and contemporary Japanese prints. Prior to her role as managing director, she was a specialist in the Japanese Department at Sotheby's New York, from 1993 to 1999. During her tenure, Ms. Martin was the primary contact for the sale of the Donna and the Late Arthur Levis Collection of Yoshitoshi Woodblock Prints and the New York representative for the London auction of Highly Important Japanese Prints from the Henri Vever Collection. She was also the specialist responsible for the series of auctions of inro, netsuke, and works of art from the Collection of the Late Charles A. Greenfield. Ms. Martin has written several catalogs published by Scholten Japanese Art, including the ongoing series focused on woodblock prints, Highlights of Japanese Printmaking, for which the most recent volume, Part Five-YOSHITOSHI, was released in March 2017. She recently concluded her two-year term as the chairman of Asia Week New York.
Sadafumi (Sada) Uchiyama served as Garden Curator for 2008-2020 and is currently the Chief Curator at the Portland Japanese Garden. Sada is a registered landscape architect and a fourth-generation Japanese gardener from southern Japan. He is devoted to fostering relations between Japanese gardens in Japan and those outside of Japan. He has taught landscape design courses and lectured on Japanese gardening at colleges and public gardens through the United States and Japan. His representative projects include the renovation of the Osaka Garden, the site of the 1893 Great Columbian Exposition at Jackson Park in Chicago, Japanese gardens at the Denver Botanic Gardens, Duke University in NC, and Wellfield Botanic Garden in Indiana.
To reserve a space for this webinar, click here
October 13, 2021
Aoki Shukuya (1737-1802), The Red Cliff after Wen Zhengming (detail)
The exhibition begins with a selection of Japanese paintings inspired by our particular fascination with an 18th-century painting by the Japanese artist Aoki Shukuya. Shukuya created his “Red Cliff'' after a painting of the subject by one of China’s most celebrated Ming literati painters, Wen Zhengming. Wen’s painting had been inspired by an iconic prose-poem written by the peerless Su Shi of the Northern Song in which Su recounts an autumn boating excursion to a historic Han dynasty site on the Yangzi River.
Not only was Shukuya’s painting a perfect confluence of forces and forms across time and space, deeply meaningful in our field, but it also suggested a perfect way for us to reflect on autumn, with further Japanese works celebrating the season. The Chinese paintings are all from the Ming dynasty, honoring Wen’s role, whereas the works of art were chosen to spark and provide interest and enjoyment. At a time when we would like to travel more than we are able, we are grateful for the artists who invite us on this autumn excursion through their works and the wider world of our imaginations.
To view the exhibition click here
October 13, 2021
Kuniyoshi (1798 - 1861), An Evening View of Hatcho Dike, 1847-48, Woodblock Print, 14.25 x 29 in (36.20 x 73.66 cm)
50 newly acquired prints have been added including: two rarely seen Eisen Tanzaku-e; a vibrant Yoshiharu Circus triptych; Kunisada deluxe portraits published by Kinshodo; a Sadahide fan print; works by Yoshitoshi, Kuniyoshi, and many others. The illustrated triptych by Kuniyoshi is an extremely rare bijin night triptych with a wonderful moody background.
To see the prints, click here
October 7, 2021
Kitagawa Utamaro (1754-1806), The Courtesan Hanamurasaki of the Tama Establishment Touching Her Brush to Her Lips, from the series The Seven Komachi of the Licensed Quarters, ca. 1796 (1980.3217). E.B. Van Vleck Collection at the Chazen Museum of Art.
Cornerstone of Collecting
Thursday October 14 at 5pm EDT
Frank Lloyd Wright’s Japanese Prints and Their Inspirational Legacy
at the Chazen Museum of Art, University of Wisconsin-Madison
Celebrated for his genius at both architecture and design, Frank Lloyd Wright was also an avid collector and dealer of Japanese woodblock prints. In the late 1920s, mathematics professor Edward Burr Van Vleck acquired approximately 4,000 of Frank Lloyd Wright’s prints, which became the foundation of his own significant collection. This extensive collection of ukiyo-e was eventually donated by his heirs to the University of Wisconsin-Madison, where he had taught for many years.
In our next Zoom panel event, curators and scholars will discuss the legacy of this important collection, its critical role at a teaching institution, and the challenges of stewardship in the 21st century.
Amy Gilman, Director of the Chazen Museum of Art
Laura Mueller, Independent curator of Japanese art
Quitman (Gene) Phillips, Professor emeritus in Japanese art at University of Wisconsin-Madison
James Wehn, Van Vleck Curator of Works on Paper, Chazen Museum of Art
Moderated by Joan Mirviss
Click here to register for the event