Kawamoto Goro 河本五郎, Flower vessel with sometsuke (cobalt) bird motif drawings (detail), 1980’s, with signed wood box, stoneware, H27.9 × W27.9 × D21.5 cm

Mavericks: Three Masters of Modern Japanese Ceramics
September 11 – 19, 2025
Private View & Opening Reception: Thursday, September 11, 3-7pm (RSVP required)
Special Autumn 2025 Weekend Hours: Saturday, Sept 13 & Sunday, Sept 14, 1-5pm
18 East 64th Street, Ste 1F, NYC

Dai Ichi Arts, Ltd is honored to present a three person show of works by Kawamoto Goro, Koinuma Michio, and Tsuboshima Dohei on the occasion of Asia Week New York Autumn 2025.

Koinuma Michio, Tsuboshima Dohei, and Kawamoto Goro are three singular voices in Japanese ceramics, each celebrated for their technical virtuosity and expansive creative range. The three artists emerged during a time when the idea of a ceramicist was being challenged: by identifying themselves as individualistic artists, these three figures were part of a generation that elevated the vessel form into high art in Japan, expanding the ceramic category in the latter half of the 20th century.

What unites them is a distinct, shared spirit of innovation and an avant-garde sensibility grounded in a respect for time, history, and tradition. Both Koinuma Michio and Tsuboshima Dohei began their professional lives in the fields of finance and economics before turning to clay. Their ceramic works defy easy categorization. These are vessels that function as both sculptural forms and utilitarian objects, imbued with presence. Their sensitivity to material and form reflects an ongoing process of discovery shaped by a respect for historical precedent and Japanese craftsmanship.

They invite you to RSVP for the private view and opening reception on Thursday, September 11, and have extended their hours this weekend—so be sure to stop by!

To learn more and view the stunning works, click here.

Large Dish with Flowering Peony Design, Hizen ware, aode-Kokutani type; porcelain with over-glaze enamels, Japan, Edo period (1615−1868), ca. 1650, diameter: 14½ in. (36.5 cm)

Japanese Porcelain
September 15 – 20, 2025
17 East 76th Street, 3rd Fl, NYC

Sebastian Izzard LLC Asian Art is pleased to present an exhibition of Japanese ceramics made for the domestic market during this season of Asia Week Autumn 2025. These works were created in a competitive commercial environment for display and use in Japan’s kaiseki cuisine alongside the tea ceremony, reflecting the discipline and high technical standards of Edo-period Japanese artisanship.

The rise of domestic Japanese porcelain coincided with the peace established by Tokugawa Ieyasu (1543–1616), the founder of modern Japan. Peace after a century of war brought prosperity, literacy, and rising consumerism, with entrepreneurs commercializing Japanese culture in an optimistic, flamboyant style. Porcelain makers catered to a competitive, fashion-conscious elite of samurai overlords, wealthy temples, and successful merchants, producing bold, innovative designs unconstrained by export demands. Little known in the West, these domestic wares exemplify the genius of traditional Japanese design.

Discover the elegance and artistry of these stunning ceramics at the gallery, beginning Monday, September 15!

To learn more, click here.

Wang Mansheng, Golden Peaches 金桃, 2021, ink on newspaper, 19 x 12 in. (48.3 x 30.5 cm)

Shufa Essentials
September 11 – October 25, 2025
Opening Reception: Thursday, September 11, 5-8pm
Artist Talk & Demonstration: Saturday, September 13, 3:30-5:30pm
65 East 80th Street, NYC

Fu Qiumeng Fine Art is delighted to present Shufa Essentials 書之有法, an exhibition dedicated to the art of Shufa—commonly translated as “Chinese calligraphy”—during this Autumn 2025 season. Shufa is rooted in a different framework that is shaped by the unique nature of Chinese characters—logographs that are at once visual, phonetic, and ideographic. This foundation allows Shufa to unite language, philosophy, and artistic expression into a single art form. Perhaps the best translation is to embrace Shufa as its own term. In the hands of the artist, characters unfold not only as words but also as pure form, alive with cadence, rhythm, and energy.

For more than two thousand years, artists have used brush, ink, and paper not only as tools of writing but as instruments of expression. Every stroke is a trace of the artist’s presence—a line shaped by rhythm, vitality, and state of mind. With no erasures and no second chances, each mark preserves the immediacy of its making, a visible record of body and spirit joined in a single moment.

This exhibition highlights three principles at the heart of the tradition. The centered use of the brush channels balance and strength into every stroke. Handmade paper, unyielding yet responsive, registers each decision without disguise. And Qi—often described as breath or vital energy—animates the work, infusing it with rhythm, mood, and life.

Through selected works and interpretive guides, Shufa Essentials invites visitors to follow the artist’s hand, sense the flow of ink on paper, and encounter Shufa as one of China’s most profound and enduring artistic traditions—an art that is at once writing and image, continuity and expression, discipline and spirit.

Join them for the opening reception on September 11, and don’t forget to register for the special artist demonstration with Fung Ming Chip that Saturday afternoon! Learn more and RSVP here.

To learn more about the exhibition, click here.

Collapse / Rebirth II
September 11 – October, 2025
Special Autumn 2025 Weekend Hours: Saturday, Sept 13, 12-6pm
39 East 78th Street, Ste 401, NYC

In conjunction with Asia Week New York Autumn 2025, Joan B Mirviss LTD is thrilled to present Collapse / Rebirth II, the second conjoint solo exhibition by renowned female ceramists, Fujino Sachiko (b. 1950) and Futamura Yoshimi (b. 1959). While each artist creates works that balance organic spontaneity with deliberate control, their approaches could not be more distinct. In Fujino’s body of work, delicately ruffled, petal-like forms emerge from calculated and geometrical foundations. Futamura treats the surfaces of textured and crevassed biomorphic sculptures with porcelain slip, which she carefully manipulates into crackled striations that evoke an array of natural imagery.

Nearly a decade after the 2016 exhibition that first placed these artists in conversation, Collapse / Rebirth II provides an opportunity to experience these artists’ evolving approaches to clay as a medium of expression.

Fujino Sachiko (b. 1950) brings her background in textile design to her ceramic sculptures, which transition effortlessly from their structured, solid foundations to delicate forms that ripple and fold with the suppleness of cloth. She first found herself drawn to ceramics in the early 1980s after taking an introductory pottery class. This inspired her to train under Tsuboi Asuka (1932–2022), a pioneering female ceramist who herself often played with clay’s ability to evoke the fluidity of fabric. Over her career, Fujino’s ceramic forms have evolved in response to the artist’s own engagement with her material as she continues to explore the juxtaposition of organic and geometric elements.

A native of Nagoya, Futamura Yoshimi (b. 1959) first studied ceramics at the Seto School of Ceramics, where she trained in the region’s historical ceramic techniques. However, it was after moving to Paris in 1986 that she developed her unique technique and aesthetic. She applies porcelain slip to the surface of her powerful, roughly hewn forms before manipulating the clay from the inside in order to create her signature striated and crevassed surface texture.

They look forward to welcoming you to the gallery!

To learn more, click here.

KOGEI + Market
September 11 – 30, 2025
Opening Reception: Thursday September 11, 6-8pm
Special Conversation: Saturday, September 13, 3pm
16 East 79th Street, NYC

Onishi Gallery is pleased to present KOGEI + Market during Asia Week New York Autumn 2025. The exhibition explores KOGEI’s place within the international art market, examining its current position and potential future trajectory. It also investigates the relationship between elevated craft and contemporary and modern art, as well as connections to other artistic fields. This theme will continue to be explored and expanded through a series of talks in future exhibitions.

The gallery warmly invites you to the opening reception on Thursday, September 11, and to a special panel discussion on Saturday, September 13, with David Norman, renowned figure in the international auction world, Jill Newhouse, a legendary New York dealer in 19th and 20th century European and American works on paper, and gallery owner Nana Onishi. Their insights into the interplay between aesthetics and market value will deepen understanding of how perceptions of craft and art have shifted from the belle époque to the present day.

To learn more,  click here.

Folio from a Bhagavata Purana Manuscript: Battle Between Krishna and the Fire-Headed Demon Mura (detail), about 1500-1540. India, Rajasthan or Uttar Pradesh; Courtesy Asia Society

Alongside the outstanding exhibitions at our Asia Week New York member galleries and auction houses this Autumn 2025, our member museums are also unveiling dynamic Asian art shows across New York City and surrounding areas. Below is a highlight of their shows and events this month. Click on each museum heading for further information.

ASIA SOCIETY

(Re)Generations: Rina Banerjee, Byron Kim, and Howardena Pindell amid the Mr. and Mrs. John D. Rockefeller 3rd Collection
March 4, 2025 – January 4, 2026

This exhibition reintroduces key works in Asia Society Museum’s Mr. and Mrs. John D. Rockefeller 3rd Collection of pre-modern Asian art through the lenses of three leading contemporary artists: Rina Banerjee, Byron Kim, and Howardena Pindell. Each artist has selected a number of works in the collection within which to situate their own new and existing works, approaching historic objects in the collection through their practices and from multiple cultures, heritages, and positions. Creating dialogues across multiple histories and places, these artists offer a range of new insights and entry points into the collection.

BROOKLYN MUSEUM & RUBIN MUSEUM OF HIMALAYAN ART

Rubin Museum Tibetan Buddhist Shrine Room. (Photo: Dave De Armas, courtesy of the Rubin Museum of Himalayan Art)

Rubin Museum Tibetan Buddhist Shrine Room
June 11, 2025 – April 20, 2031

Experienced by over one million visitors at the Rubin Museum of Himalayan Art from 2013 to 2024, the beloved Tibetan Buddhist Shrine Room now has a new home at the Brooklyn Museum. For the next six years, this immersive installation will welcome guests within the Arts of Asia galleries—offering a lamplit sanctuary amid Brooklyn’s bustle and a place for reflection in uncertain times. Presenting more than 100 artworks and ritual objects as they might appear in an elaborate household shrine, the installation features scroll paintings (thangkas), sculptures, furniture, and musical instruments from the 12th–20th centuries. Chanted prayers by monks and nuns evoke ritual practice, reminding visitors that Buddhist devotion engages all the senses.

CHARLES B. WANG CENTER AT STONY BROOK UNIVERSITY

Courtesy Charles B. Wang Center at Stony Brook University

Through the Light: Contemporary Jogakbo by Wonju Seo
September 8 – December 31, 2025
Opening Reception: Friday, Sept 26, from 5-7pm (kindly RSVP)
Workshop: Saturday, Sept 27 at 1pm (kindly register))

Melding tradition with innovation, Through the Light showcases the contemporary jogakbo (Korean wrapping cloth) art of Wonju Seo. Rooted in centuries-old Korean textile practices, Seo’s translucent compositions transform humble fabric into luminous abstractions. Her works echo the geometry of modernist paintings while inviting viewers to experience light as a living element—passing through seams, shifting with space, and casting ephemeral shadows. With a minimalist sensibility and a reverence for craftsmanship, Seo translates the once utilitarian Korean craft of jogakbo into a contemporary language of transparency, balance, and spiritual reflection.

CHINA INSTITUTE GALLERY

Fiona Lai Ching Wong, Gold Orchid, 2008, terracotta with copper plate..© Courtesy of the artist and Alisan Fine Arts

Metamorphosis: Chinese Imagination and Transformation
September 10, 2025 – January 11, 2026
Curator’s Conversation with Artists: Wednesday, Sept 10 from 6:30-8pm (kindly RSVP)

Metamorphosis highlights works by over 25 contemporary artists of Chinese descent who explore themes of personal, cultural, historical and material metamorphosis and transformation in dynamic and innovative ways. Created by both established and emerging artists of different generations, these works span media including painting, sculpture, photography, animation, and installation. Artists include Xu Bing, Zheng Chongbin, Lu Yang, Yun-Fei Ji, Irene Chou, Zheng Lu, Yin Xiuzhen and Fiona Lai Ching Wong. Many of these works will be seen in the U.S. for the first time. Important works commissioned especially for the exhibition include new paintings by Sun Xun and an immersive Dream Chamber by Bingyi.

JAPAN SOCIETY

Courtesy Japan Society

Chiharu Shiota: Two Home Countries
September 12, 2025 – January 11, 2026
Opening Reception: Thursday, Sept 11 at 9pm (Members Only)

This is the first New York solo museum exhibition of contemporary artist Chiharu Shiota (b. 1972). Chiharu Shiota: Two Home Countries commemorates the 80th anniversary of the end of World War II with a newly commissioned, site-specific installation exploring wartime memory, personal identity, and the intersection of collective and individual experience. The exhibition also highlights Shiota’s stage design for Japan Society’s theater commission KINKAKUJI (Temple of the Golden Pavilion), premiering on opening night. Based on the novel by legendary Japanese author Yukio Mishima (1925–1970), the performance celebrates the centennial year of his birth. This new work brings Shiota’s innovative and deeply intimate stage design to American audiences for the first time.

KOREA SOCIETY

Courtesy the Artist

Hong Seon Jang | Minor Landscaping
September 10 – December 5, 2025
Opening Reception: Wednesday, Sept 10 from 5-7pm (kindly RSVP)

With his installations, Hong Seon Jang transforms industrial products and found objects in order to explore the usually recognizable surroundings. As their conventional function and values are reinterpreted, distorted, and subverted, Jang investigates opposing concepts and contrasting ideas, such as authority and subordination, internal and external dynamics, and the interplay between security and threat. Through his art, Jang invites viewers to re-examine how symbols acquire cultural and ideological significance, and how their meanings transform in displacement.

KOREAN CULTURAL CENTER NY

Ik-Joong Kang, Hangeul Wall: Things I Love to Talk About, 2024, 20,000 Hangeul tiles (mixed media on wood: 3×3 inches each), approximately 26 x 72 ft (8 x 22 meters), courtesy KCCNY

Hangeul Wall: Things I Love to Talk About
Ongoing 

The Hangeul Wall, measuring 26 x 72 feet (8 x 22 meters) and composed of 20,000 Hangeul tiles, connects the wisdom and experiences of global citizens. Developed in collaboration with LG CNS, KCCNY launched a website in May 2024, enabling people worldwide to create their own artworks using the site’s translation and coloring functions under the theme “Things I Love to Talk About.” From these, 1,000 pieces were selected through public online voting and artist review, culminating in this monumental installation. The Hangeul Wall stands as a symbol of the rich cultural heritage of Hangeul and the universal freedom of expression, serving as a testament to our shared human narratives.

THE METROPOLITAN MUSEUM OF ART

Incense burner in the form of a goose, China, Ming dynasty (1368–1644), early 15th century. Bronze. H. 14 1/2 in. (36.8 cm); W. 18 3/4 in. (47 6 cm). The Metropolitan Museum of Art, New York, Purchase, The Vincent Astor Foundation Gift, 2020 (2020.335a, b)nt Astor Foundation Gift, 2020

Recasting the Past: The Art of Chinese Bronzes, 1100–1900
Through September 28, 2025

This exhibition presents the first comprehensive study of Chinese bronzes produced from the twelfth to nineteenth century—an overlooked but critical period in Chinese art. Featuring over 200 artworks with loans from over 20 institutions in China, Japan, Korea, Europe, and the United States, the exhibition demonstrates the lasting artistic significance of bronzeware as later artists creatively transformed earlier forms and decorative imagery. The inclusion of paintings, ceramics, jades, and other media demonstrates the broad impact of this new aesthetic across the arts of later Imperial China.

NATIONAL MUSEUM OF ASIAN ART

Kimura Kōsuke (b. 1936), Present Situation (Framing B) (detail), Japan, Shōwa era, 1971, screenprint and lithograph; ink on paper, National Museum of Asian Art, Smithsonian Institution, Purchase and partial gift of the Kenneth and Kiyo Hitch Collection from Kiyo Hitch with funds from the Mary Griggs Burke Endowment, S2019.3.982, © Kosuke Kimura

Cut + Paste: Experimental Japanese Prints and Photographs
June 21 – November 30, 2025

Leave your assumptions about prints and photographs behind. In Cut + Paste, flat surfaces expand outward as images are printed, reworked, and layered with unexpected materials—plastic, foam, glue, tape. In an age of endless digital reproduction, these works insist on being seen in person. Showcasing seventeen Japanese artists, the exhibition highlights bold experiments that blur the boundaries between printmaking, photography, fine art, and design. Drawn entirely from their permanent collection, these works span the twentieth and early twenty-first centuries.

PHILADELPHIA MUSEUM OF ART

Krishna Reddy (1925-2018), Two Fishes, 1957, 2024-118-29, courtesy The Philadelphia Museum of Art

Krishna Reddy: The Movement of Life
August 2 – December 8, 2025
Asian Art Tour: Thursday, September 11, 2025 from 1-2pm (free)

This exhibition, timed to coincide with the centenary of Reddy’s birth, explores his abstract images of seeds, flowers, insects, water, and the human figure. Dazzling feats of color and texture, Reddy’s color prints vibrate with the cosmic energy that, according to his personal philosophy, pulses through and connects all elements of nature. Celebrating the gift of 63 prints from the collection of Drs. Umesh and Sunanda Gaur to the PMA, Krishna Reddy: The Movement of Life articulates how Reddy’s iterative working process was an extension of his spiritual beliefs. Also be sure to join their guided tour that brings you into rare architectural spaces and introduces you to fascinating works of Asian art—including some of the oldest treasures in their collection.

THE PRESERVATION SOCIETY OF NEWPORT COUNTY

Thomas Couture (1815-1879), Richard Morris Hunt, 1849 (detail). Courtesy National Portrait Gallery, Smithsonian Institution

Richard Morris Hunt: In a New Light
May 30 – November 2, 2025

Richard Morris Hunt (1827-1895) was America’s premier Gilded Age architect, but his effort to transform both the built and the cultural landscapes of America is his greatest legacy. This exhibition examines Hunt’s achievements in a new light, presenting his lived experience and how it is reflected in his life’s work: a pursuit of national pride in art and architecture. For the first time, Hunt’s materials from the Library of Congress, Smithsonian National Portrait Gallery, Vermont Historical Society, Bennington Museum (Vt.) and the Preservation Society’s collection – including architectural and interior drawings, his personal sketchbooks and scrapbooks, and intimate family objects and collections – will be exhibited in one location. Together they provide deep insight into Hunt’s approach to culture, private and public collecting, and architectural practice.

RUBIN MUSEUM OF HIMALAYAN ART

IMAGINE (a.k.a. Sneha Shrestha), Dwarpalika, 2024, installation view from Sneha Shrestha: Ritual and Devotion at the Cantor Art Gallery, photo by Jane Louie Photography, courtesy Rubin Museum of Himalayan Art

About a Living Culture
September 6, 2025 – January 4, 2026
Diversity Plaza, Jackson Heights, NYC

Nepalese artist IMAGINE (a.k.a Sneha Shrestha) presents a new temporary public art installation that celebrates and takes inspiration from the diverse Himalayan cultures of the Jackson Heights, Queens, neighborhood. For her first public art sculpture, IMAGINE is creating an installation in the shape of an arch made of repeating rows of ‘Ka,’ the first letter of the Nepali alphabet. In Nepal, religious and sacred environments feature variations in the form of archways, which encourage passersby to look through and get blessings from the divine. IMAGINE’s sculpture will invite the public to interact and experience a meditation and “send” it out to the universe as they embark upon their pathways through Diversity Plaza.

YALE UNIVERSITY ART GALLERY

Attributed to Woman’s Ceremonial Skirt (Tapis), Indonesia, Sumatra, Lampung, 16th–17th century. Cotton and silk; warp-faced plain weave, warp ikat, and embroidery. Yale University Art Gallery, Robert J. Holmgren and Anita E. Spertus Collection, Promised gift of Thomas Jaffe, B.A. 1971

Nusantara: Six Centuries of Indonesian Textiles
September 12, 2025  –  January 11, 2026
Opening Lecture: Living Cloth: Textiles and Society in Indonesia, Friday, Sept 25 from 5:30– 6:30pm (free)

Nusantara: Six Centuries of Indonesian Textiles presents one of Southeast Asia’s most significant artistic accomplishments: woven textiles. Exploring the ancient interisland links found in this culturally diverse maritime region, the exhibition features a wide array of textiles from the 14th to the 20th century drawn from the Yale University Art Gallery’s exceptional holdings—from the batiks of Java to the ikat of Sumba, and from ceremonial cloths and ritual weavings to clothing, shrouds, and architectural hangings. Nusantara—from the original name for the Indonesian archipelago—offers a broad overview of the rich imagery and technical mastery of this remarkable art form. Be sure to join all their related programming, including the opening lecture on Friday, September 25 with Barbara Watson Andaya, Emeritus Professor of Asian Studies, University of Hawai‘i.