Suzuki Harunobu (1724−1770), Cool Mountain Gust of the Fan (Ōgi no seiran), color woodblock print: chūban tate-e, 10⅞ x 8 in. (27.6 x 20.3 cm), 1766, Series: Eight Views of the Parlor Room (Zashiki hakkei), unsigned, publisher: Shōkakudō

Japanese Prints and Paintings, 1720−1820
March 14 – 21, 2025
Asia Week Hours: Mar 14-15 & 17-21, 11am-5pm (otherwise by appointment)
17 East 76th Street, 3rd Floor

Sebastian Izzard LLC Asian Art is pleased to present Japanese Prints and Paintings, 1720−1820 during this season’s Asia Week New York. The paintings and prints in this exhibition begin in the 1720s and end approximately a century later. Many of the technical developments and changes that took place during that time are covered. The most important of these, the introduction of full color printing, is represented by a fine group prints by Suzuki Harunobu, as well as examples by his contemporaries. Harunobu was a late bloomer, and the prints included here survey the last years of his life, beginning with the first print in his ground-breaking series Zashiki hakkei (Eight views of the parlor room).

The end of the 1760s saw idealized portraits of actors replaced by ones more grounded in realistic portrayal, which are represented here by fine works by Ippitsusai Bunchō and Katsukawa Shunshō.

Interest in imported European ideas and images manifested itself in the introduction of uki-e, or “floating pictures,” which allowed landscape artists to move from traditional isometric perspective to indicate depth and volume, to single-point perspective and low picture planes. Examples by Utagawa Toyoharu and other landscapes in the exhibition indicate just how pervasive this interest was.

The golden era of the 1790s includes a very fine example of Tōshūsai Sharaku’s portrait of Segawa Kikunojō III as Ōshizu, performed in the fifth month of 1794. One of the artist’s finest portraits, this specimen has exceptionally well-preserved color, allowing the viewer insights into Sharaku’s skills as a colorist.

The exhibition concludes with a fine painting by Kubo Shunman, who was a contemporary of both Utamaro and Toyokuni. Shunman was deeply involved with the literary world of his period, and his late painting of a Yoshiwara courtesan celebrating the Hassaku festival held during the summer is accompanied by a text by the noted literatus Kameda Bōsai, detailing the history of the event.

Be sure to visit the gallery to take in all these magnificent works of art for yourself!

To learn more, click here.

Jihei Murase, Gold Melon-Shaped Water Container 金彩阿古陀水指, lacquer, h:6 3/4 x w:10 1/4 x d:10 1/4 in

Light and Abundance: Gold in Japanese Art
March 13 – April 17, 2025
Opening Reception: Thursday, March 13, 5-8pm
35 N. Moore Street

Ippodo Gallery cordially invites you to join the inaugural opening of their new downtown flagship gallery in TriBeCa, which comes after 12 years on Manhattan’s Upper East Side during this season’s Asia Week New York!

Light and Abundance: Gold in Japanese Art is a group exhibition highlighting the rich use of gold in traditional mediums. These unique works by distinguished artists in lacquer, metal, Nihonga painting, and ceramics are contemporary masterpieces showing the class and elegance of gold.

The pure material, never to tarnish nor rust, is the object of fascination and admiration for more than a thousand years in Japan. Gold represents divinity, the eternal, and symbolizes spiritual enlightenment since ancient times, serving to cover statues of Buddha, temples like Kinkaku-ji in Kyoto, and the feudal lord Hideyoshi Toyotomi’s famous Gold Tea Room. ‘Zipangu, the Land of Gold’ as Marco Polo named the archipelago more than five-hundred years ago, reminds how the country was once the foremost global producer of gold, which empowered the development of a distinct Japanese visual culture. While modern minimalist and wabisabi philosophies rise, flamboyance remains a quintessential element of Japanese aesthetics.

Be sure to discover twenty-four top emerging Japanese artists in contemporary kogei for whom gold persists as a medium of innovation and virtue next month!

To learn more, click here.

Kang Chunhui (b.1982), Sumeru NO. 34, 2023, ink and mineral pigment on paper

Kang Chunhui and Ethan Su: New Approaches to Gongbi Painting
March 13 – 21, 2025
By appointment only

INKstudio is thrilled to offer a salon presentation of Kang Chunhui and Ethan Su: New Approaches to Gongbi Painting during this season’s Asia Week New York. A standout highlight is Sumeru No. 34, a remarkable work from Kang Chunhui’s Sumeru series. This series delves into the interplay of color, shape, light, dimension, and boundary, all explored through the evocative form of the fold. Draping fabric folds—integral to Gandharan Greco-Buddhist sculpture—serve as a foundational element in early Chinese figure painting. Over time, this brush-line technique evolved, becoming the essence of East Asian brush painting.

Through intimate exhibit invites audiences to experience the innovative ways Kang Chunhui and Ethan Su push the boundaries of Gongbi painting while honoring its rich artistic heritage.

To learn more and schedule an appointment, kindly email [email protected]

Rare Chinese Imperial Enamel on Copper Lantern Pagoda, Qianlong four character mark and period, ca: mid-18th c., h:19 ½ in (49.5 cm)

Spring Exhibition of Chinese Porcelain and Works of Art
March 13 – 21, 2025
Asia Week hours: 10am-6pm, daily (otherwise by appointment)

This Asia Week holds a special significance for Ralph M. Chait Galleries, Inc. as they celebrate 115 years of family tradition. Founded in 1910 by Ralph M. Chait, the gallery proudly continues into its fourth generation.

In honor of this milestone, they are delighted to present an exhibition and accompanying catalogue showcasing an exceptional selection of fine Chinese porcelains and works of art. Highlights include Imperial pieces and the highest-quality decorative arts that once graced esteemed European collections before making their way into significant American collections.

Beyond these treasures, the exhibition will feature other remarkable works. Particularly meaningful is the return of numerous pieces that passed through the gallery decades ago. Their 115-year history is deeply woven into the present, and they look forward to the generations ahead.

They warmly welcome your inquiries and visits to the gallery during this Asia Week!

Howardena Pindell, Autobiography: India (Lakshmi), 1984, mixed media collage on paper. 18 x 20 1/2 x 2 in. (45.7 x 52.1 x 5.1 cm); Courtesy of the artist and Garth Greenan Gallery, New York

(Re)Generations: Rina Banerjee, Byron Kim, and Howardena Pindell amid the Mr. and Mrs. John D. Rockefeller 3rd Collection
March 4 – August 10, 2025
Patrons Preview Tour: Monday, March 3, 5:30-6pm
Members-Only Opening: Monday, March 3, 6-9pm

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.

To learn more, click here.

Hiraki Sawa, trail (detail), 2005, single-channel video with animation and sound, duration: 14 minutes; Asia Society, New York: Gift of Mr. and Mrs. Harold and Ruth Newman, 2011.18

Hiraki Sawa: Journeys in Place
March 4 – August 10, 2025

Japanese-born and London-based Hiraki Sawa creates video works that explore psychological landscapes, unexpected worlds, and the playful interweaving of domestic and imaginary spaces. His works traverse specific, often personal, landscapes to consider memory, migration, and displacement. Asia Society invited Sawa to frame his video trail (2005), held in the museum’s collection, with a selection of works from the Mr. and Mrs. John D. Rockefeller 3rd Collection, echoing the approach of the exhibition (Re)Generations in the museum’s 2nd- and 3rd-floor galleries. His selection of a small-scale pair of lion-dogs (flanking the video monitor) and bixies (mythical creatures) relate to the miniaturized camel who is the main protagonist of trail. Asia Society’s beloved elephant-headed sandstone Ganesha completes the display, bringing joy, good luck, and wealth to the many who venerate the popular deity.

Sawa’s trail is looped with his works fantasmagoria (2017) and pilgrim (2022), while the artist-made monitor box on view loops dwelling (2002) and elsewhere (2003). All five videos present abstracted montages of spaces that are intimate to the artist.

To learn more, click here.

Marcos Kueh, Woven Poster—Homo Servantis Erotis, 2023, industrial weaving, recycled PET, 8 colors; Courtesy Galerie Ron Mandos, Amsterdam. Copyright © Marcos Kueh

Installations
March 4 – August 10, 2025

Also on view will be Marcos Kueh’s colorful, fluorescent tapestries that critically address the theme of eroticization and tourism, particularly on the island of Borneo, where Kueh was born and where identity and culture are commodified as touristic entertainment; Yoko Ono’s ongoing interactive art installation, Wish Tree, begun in 1996, where visitors are invited to write a wish on a paper tag and tie it to the tree; and Ai Wei Wei’s With Colored Vase, 2008, where he asks us to confront our values in relation to the past.

To learn more, click here.

C. C. Wang, Landscape 2, 山水 2, 1990, ink on paper, signed Wang Jiqian, dated gengwu, February 1, with one seal of the artist, wang ji qian xi, framed
37 1/4 x 24 1/4 in. (94.6 x 62 cm)

Fluid Strength: The Art of Ink
March 13 – May 3, 2025
Opening Reception: Friday, March 14th from 5-8pm
Asia Week Hours: 10am-6pm, daily (otherwise by appointment)
65 East 80th Street, Ground Floor

Fu Qiumeng Fine Art is pleased to present the group exhibition, Fluid Strength: The Art of Ink, during this season’s Asia Week New York. Showcasing masterpieces from classical, modern, and contemporary artists, this presentation explores the profound philosophical connotations of water-based ink as a medium, rooted in the Daoist concept of softness, yielding, and resilience. In East Asian art history, water and ink symbolize Yin energy—gentle yet powerful, nourishing and sustaining all life. This principle is vividly expressed in Daoist thought: “Water flows without contention, achieving great deeds by simply being natural.”

Water’s ability to adapt, nurture, and overcome reflects an essential worldview that has shaped Chinese culture, art, and philosophy for centuries. From ancient calligraphy and landscape painting to contemporary expressions, ink art embodies this enduring perspective, flowing across time and geography—from East Asia to the West. This exhibition invites viewers to experience the timeless power and grace of water-based ink art, celebrating its role in connecting tradition and innovation, philosophy and artistic practice.

To learn more, click here.

Zebra, Imperial Mughal, circa 1621, opaque pigments and gold on paper, folio: 13.8 x 19.7 cm

India’s Fascination with the Natural World
Mughal, Rajput and Company School Paintings
March 13 – 20, 2025
Exhibiting at: Les Enluminures Gallery, 23 East 73rd Street, 7th floor Penthouse
Asia Week Hours: 10am-6pm, dailly (otherwise by appointment)

In 1621, a zebra from East Africa was presented to Emperor Jahangir, who had never seen such an animal before and at first thought its coat had been painted. Francesca Galloway is proud to present one of only three known imperial Mughal paintings of a zebra during next month’s Asia Week. These rare animal paintings reveal the emperors’ fascination with the natural world.

Another aspect of Mughal painting currently under study is the loose paintings with inscriptions and ownership seals on the verso, made by the imperial librarians. This information sometimes tells a fascinating story about the history of a painting, as is the case with their A Farrier Shoeing a Royal Horse, attributed to Mukhlis, c. 1585. The painting belonged to Asaf Khan (brother of the Empress Nur Jahan and father of Mumtaz Mahal) during his lifetime, but was returned to the Imperial Library upon his death in 1641.

Preview these two paintings, along with other fascinating works in their online catalog!

To learn more, click here.

Bull Elephant chained to a Pipal tree, Sawar, Rajasthan, early eighteenth century, brush drawing in black ink on a yellow ground, heightened in orange, white and green, wasli laid down on paper, 13 1/3 x 17 in. (34 x 43.3 cm) painting, 13 4/5 x 17 1/5 in. (35.1 x 43.5 cm) folio

Animals, Birds and Portraits: Works on Paper from India and Persia
March 13 – 21, 2025
Opening Reception: Thursday, March 13, 5-8pm
Exhibiting at: 67 East 80th Street, Suite 2
Asia Week Hours: March 13-14 & 17-21, 10am-6pm; March 15-16, 11am-5pm (otherwise by appointment)

Oliver Forge and Brendan Lynch Ltd. is delighted to showcase forty-three exquisite court paintings from India and Persia in their 16th year exhibiting at Asia Week New York. Among the highlights is Bull Elephant chained to a Pipal tree, a large and extraordinarily energetic drawing. The artist’s powerful contours, parallel lines, concentric semi-circles and darkened joints capture the elephant’s volume and nervous energy, evident in his raised foot, flapping ears, and swishing tail.

Another standout is A portrait of a reclining beauty, a fascinating Persian interpretation of the Renaissance tradition of the reclining female nude, as depicted by Raphael and Raimondi. This exceptional work comes from the collection of the late Pierre Le-Tan (1950–2019), the late artist/illustrator famous for his New Yorker covers.

Preview these stunning works in their online catalog, out now!