Ōshita Sekkō (1874-1960), Tiered Accessory Box with Cormorant and Fish, 1933, maki-e lacquer on wood with silver rims, 8¾ x 11¼ x 8¾ in. (22.5 x 28.5 x 22.5 cm)

Japanese Modern Masterpieces 1910-1950
March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11-5pm (otherwise by appointment)
9 East 63rd Street

Thomsen Gallery is pleased to present a collection of Japanese modern masterpieces from 1910 to 1950 during Asia Week New York. The exhibition focuses on Japanese fine art from these decades, a time of great change for Japan and its arts. Superb works were created for the domestic market, in contrast to the export-oriented output during the prior Meiji era. Though most painters of the Taisho and early Showa eras typically remained focused on traditional themes, they often experimented with new materials and perspectives. They shifted from stylized depictions of nature to naturalistic botanical studies and many works show influence from the West.

Kawamura Kokyo (b. 1913), Garden Scene, 1930s, two-panel folding screen; ink, mineral colors, and shell powder on silk, 60¼ x 61¾ in. (153 x 157 cm)

They look forward to welcoming you to their Upper East Side gallery this week.

To learn more, click here.

Kajiwara Koho (b. 1935), Peony Basket, late 20th century, madake bamboo and rattan, 41.75 x 28.5 x 13.5 in.

A Pause in Time, An Emptiness in Space: Ma in Japanese Bamboo Art
March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11 am-6 pm  (otherwise by appointment)
Opening Reception: Thursday, March 14, 5-9 pm
Colnaghi, 23 East 67th Street, Fourth Floor

TAI Modern returns to Asia Week New York this spring with  a special exhibition of extraordinary works by some of bamboo art’s most esteemed artists, both historic and contemporary. Ma encompasses various meanings, including space, pause, rest, time, or opening, all of which contribute to shaping the distinct aesthetics of bamboo art. The Heart Sutra, one of the most famous texts in Buddhism, states that “form is emptiness, emptiness is form.” This apparent paradox represents a fundamental philosophy in Japanese design and culture, where the significance of absence is equal to that of presence.

This exhibition showcases extraordinary works by some of bamboo art’s most esteemed artists. On display are over forty masterworks, including the dramatic traditional Peony Basket by Kajiwara Koho, featuring a huge arching handle that creates an empty stage for flower arrangement. Hisatomi Muan presents a contemporary version of a circular-handled peony basket in his work aptly titled Space. Sculptural forms abound in our selection, such as the exuberant Setting Sun by Shono Tokuzo, an astoundingly delicate and airy woven sculpture titled Loop by Tanioka Shigeo, and Plume, a large sculpture by the up-and-coming young artist Hasegawa Kei. Hasegawa’s work was recently added to the collection of a prominent public art museum in America. Notably, Japanese Living National Treasure Fujitsuka Shosei’s The Sound of Waves will make its first appearance since the artist received this prestigious title.

Hasegawa Kei, Plume, 2021, black bamboo, rattan, 37 x 19.5 x 12.5 in.

TAI Modern eagerly embraces this opportunity to offer education and guidance, catering to both seasoned collectors and those exploring the art world for the first time. They look forward to welcoming you this week at Colnaghi, 23 East 67th Street, Fourth Floor.

To learn more and preview the exhibit, click here.

Kanō Hōgai (1827-1888), Design for a Clasp (detail), late 19th century, ink on paper, hanging scroll, with box authentication by Okakura Shūsui, double box, 20.2 x 31.5 cm / 135 x 49 cm (overall)

Postwar Japanese Calligraphy and Painting
March 14 – April 19, 2024
Asia Week Hours: Mar 14-15 & 18-22, 11am-6pm; Mar 16, 11am-5pm; Mar 17, 12-5pm
From Mar 18-Apr 19, Mon-Fri, 11am-6pm
Joan B Mirviss LTD 39 East 78th Street, Suite 401

Shibunkaku is pleased to present Postwar Japanese Calligraphy and Painting for this season’s Asia Week New York. The exhibit focuses on abstract paintings and works on paper of Japanese artists from the postwar period, including works by two pioneering female artists who were active in New York City during the 1950s and 60s, Miyawaki Aiko (1929-2014) and Shinoda Tōkō (1913-2021).

The gallery hope to express the variety of artistic practices in Japanese art during the postwar era, the international dialogue with artistic movements such as Art Informel and Abstract Expressionism, and challenge conventional narratives and constraints endured within a Western context. Also showcased are works by Morita Shiryū (1912-1998) and Inoue Yūichi (1916-1985), founding members of the avant-garde calligraphy collective, Bokujinkai. As a special highlight, we will display a treasured classical work by Kano Hōgai (1827-1888), one of the most influential painters of the early Meiji period, and the last of the Kano School painters.

This presentation of works in New York alongside the ceramic works of Eternal Partnership: Japanese Ceramics in Blue/White at Joan B Mirviss LTD offers a unique perspective on the ever-evolving dynamism of Japan’s artistic tradition.

To learn more, click here.

Meena Kayastha, Goddess Varahi, 2023, traditional Nepali door, papier-mache, pliers, nails, coins, keys, jewelry, bell, discarded vehicle metal parts, 58 x 28 x 9 in.; photo courtesy of Meena Kayastha, Bhaktapur, Nepal; Roshan Pradhan, New World, 2021, acrylic on canvas, 183 x 152.5 cm; photo courtesy of Sangeeta Thapa, Founder Director Siddhartha Art Gallery, Kathmandu, Nepal; Shushank Shrestha, Male Guardian Lion Dog (one of a pair from Two Guardian Lion Dogs), 2023, ceramic, in glaze lustre; 52 × 27 × 44 in.; photo courtesy of Shuhank Shrestha, Massachusetts, USA

Reimagine: Himalayan Art Now
March 15 – October 6, 2024
Opening Reception: Friday, March 15, 6-10pm (Free)
Opening Weekend: Saturday, March 16 & Sunday March 17, 11am-5pm (Free Admission)

Contemplate and celebrate what Himalayan art means now with a Museum-wide exhibition of artworks by over 30 contemporary artists, many from the Himalayan region and diaspora and others inspired by Himalayan art and cultures, at the Rubin Museum of Art this Friday, March 15th.

On the occasion of the Rubin’s 20th anniversary, Reimagine: Himalayan Art Now transforms the entire Museum with new commissions, some site-specific, and existing works juxtaposed with objects from the Museum’s collection, inviting new ways of encountering traditional Himalayan art.

Through a wide range of media, including painting, sculpture, sound, video, installation, performance, and more, the artists explore their personal and collective histories and call attention to themes such as the fluidity of identity, spiritual practices, sense of belonging, grief, memory, and reclamation. The artists also offer critical and thoughtful commentary on issues facing humanity across time.

Also join them for opening weekend celebrations with free admission on Saturday, March 16 and Sunday, March 17!

To learn more, click here.

Hiroshi Yoshida (1876-1950), Fuji Above Yoshida Village, (Shimo-Yoshida), graphite, ink and watercolor on J. Whatman English watercolor paper; titled at lower right, SHIMO-YOSHIDA, and signed, H. YOSHIDA, ca. 1902-07, 13 3/8 by 20 1/4 in., (33.9 by 51.3 cm)

March 14 – 22, 2024
Asia Week Hours: Mar 14-22, 11am-5pm (appointments appreciated)
145 West 58th Street, Suite 6D

Scholten Japanese Art is pleased to present COLLECTING THE MASTER: The Binnie Collection of Hiroshi Yoshida Paintings, assembled by the prominent contemporary woodblock printmaker, Paul Binnie for this 15th year of Asia Week New York.

Hiroshi Yoshida (1876-1950) was a Japanese artist, painter and printmaker, widely known throughout the world for his woodblock printed work. Part of the shin- hanga (lit. ‘new print’) movement of the first half of the twentieth century, Yoshida’s prints were produced in the same way as earlier ukiyo-e (lit. ‘pictures of the floating world’); woodblocks would be carved by a specialist artisan following the design of an artist, and then printed in colors by a specialist printer, all under the direction of a publisher, who then undertook to sell the finished product. However, in Yoshida’s case, he eventually employed the carvers and printers directly, acting as his own publisher and even occasionally carving and printing himself.

Aside from this well-known print career, Yoshida had a very active life as a painter and exhibited in a range of Japanese government-sponsored exhibitions, private art society group shows, and commercial galleries. He also exhibited widely embarking on trips to the United States and Europe in his early twenties. Along with friend and fellow-painter, Nakagawa Hachiro (1877-1922), they arranged several exhibitions, primarily of their watercolors, at museums and galleries in the Midwest and New England to great acclaim. Yoshida would continue to make several trips to capture the natural landscapes throughout the United States and Europe.

Hiroshi Yoshida, 1876-1950, New York, (Nyu yoruku), oil on canvas; signed at lower left, H. Yoshida, ca. January – February 1924, painting 24 1/4 by 18 1/4 in., 61.5 by 46.2 cm, frame 29 3/4 by 23 5/8 in., 75.5 by 60 cm

A natural leader and innovator, Yoshida was arguably one of the most influential artists in his time and among later generations as well, as evidenced by this collection. The Scottish artist and printmaker Paul Binnie (b. 1967) began to build a collection of Yoshida woodblock prints and original paintings and drawings around 1989, when he purchased his first landscape print by the earlier master. In addition to the scrolls and fan paintings which feature subjects and motifs seen in Yoshida’s printed works, such as boats on the Inland Sea, and views of Mount Fuji, The Binnie Collection of Hiroshi Yoshida Paintings offers two drawings, four watercolors and eight oil paintings, including the original canvases for three of Yoshida’s woodblock prints, Breithorn, Ghats at Benares and New York.

To learn more, click here.

Vajrapani Mandala, Tibet, 14th/15th century, Distemper on cloth, 25 5/8 x 19¾ in. (65 by 50 cm)

March 14 – 22, 2024
Asia Week Hours: Mar 14, 16, 18-22, 10am-6pm; Mar 15, 10am-5pm; Mar 17, 11am-5pm (otherwise by appointment)
Opening Reception: Friday, March 15, 5-9pm
Adam Williams Fine Art 24 East 80th Street

Carlton Rochell Asian Art is pleased to present paintings, sculptures, and ritual objects from Tibet, Nepal, and India for this year’s Asia Week New York. Many of the works are drawn from international private collections and have been exhibited in various museum exhibitions. Highlights include a group of Tibetan Buddhist paintings (thangkas) which are of outstanding quality. They look forward to inviting you to their exhibition at Adam Williams Fine Art at 24 E. 80th Street.

Manuscript Cover with Prajnaparamita, Bhaishajyaguru, and Vairocana, Tibet, 14th century, Polychrome and gilding on wood, 10½ by 27 in. (26.5 by 68.6 cm.)

To learn more click here.

Inoue Manji (b. 1929, Living National Treasure), Hakuji (white porcelain) Spiral Vase, 2023, porcelain; David Stanley Hewett (b.1967), EN 6, 2023, Kanazawa gold leaf on canvas, 25 5/8 x 25 5/8 in. (65 x 65 cm)

Inoue Manji / David Stanley Hewett
KOGEI and Art
March 14 – 22, 2024
Asia Week Hours: Mar 14-16 & 18-22, 10am-5pm (otherwise by appointment)
Opening Receptions: Thursday, March 14, 5-8pm
521 West 26th Street

In celebration of Asia Week New York 2024, we are pleased to be presenting two exhibitions – Inoue Manji / David Stanley Hewett celebrating Living National Treasure Inoue Manji and Japan based artist David Stanley Hewett and KOGEI and Art, marking the inauguration of KOGEI USA, a non-profit dedicated to the revitalization of Japan’s world-famous KOGEI (art crafts).

In Inoue Manji / David Stanley Hewett, the two artists’ practices convey contrasting aspects of Japanese visual expression. Inoue Manji—a “Living National Treasure” and the embodiment of his country’s dedication to traditional philosophies, materials, and techniques—uses the purity of hakuji (white porcelain) to create works that offer a new perspective on Japanese minimalism, while David Stanley Hewett, an American living in Japan, works in the medium of finest Japanese gold leaf applied to canvas or wood, preserving and re-imagining a heritage of gorgeous decoration with its roots in elite samurai culture.

Nakagawa Mamoru (b. 1947), Living National Treasure, Yubae (Sunset’s Glow), 2013, Vase; cast alloy of copper, silver, and tin with inlays of copper, silver, and gold, H7 1/2 x W12 5/8 x D5 1/2 in. (19 x 32 x 14 cm)

Originally coined to translate the word “craft,” today the term KOGEI has a higher significance, denoting works that, even at their most innovative, use materials and methods that have stood the test of time and reflect an unrivalled dedication to technical perfection and refinement, from generation to generation over many centuries. Works in this exhibition include those in ceramics, metal, and lacquer by both well-established artists and newcomers to the field. Alongside masterpieces by “Living National Treasures” such as Imaizumi Imaemon XIV, Nakagawa Mamoru, Ōsumi Yukie, and Murose Kazumi, the exhibition includes recent work by Rusu Aki and Konno Tomoko, two younger women who are building international reputations with sculptural pieces that combine technical rigor with an inventive approach to materials and processes.

These two exhibitions mark the inauguration of KOGEI USA, a nonprofit dedicated to revitalizing Japan’s world-famous KOGEI (art crafts) under the banner Securing Our Heritage, Nurturing Our Traditions, Building Our Futures. The exhibitions promotes one of KOGEI USA’s key goals: the formation of new creative links between Japanese and non-Japanese masters who share a passion for preserving and handing on the best traditional hand-made arts.

To learn more, click here.

Tibetan Rug with a pattern from a silk brocade, Tibet, Wool foundation, wool pile, Late 19th Century, 32 x 85 in (81 x 215.9 cm)

March 14 – 19, 2024
BY APPOINTMENT ONLY
Asia Week Hours: Mar 14 (Evening by Appointment Only)
Mar 15-19 (by Appointment Only from 10am-6pm)
The Mark Hotel 25 East 77th Street
To schedule a time for a private viewing please call (415) 378-0716

Thomas Murray is offering small collections of highly selected works of art reflecting his discriminating taste, as formed over the last 45 years in Asia.

Presented in online digital catalogs, with introductions and captions, Thomas Murray shares his knowledge and vision! They look forward to welcoming you to their exhibition at The Mark Hotel on the Upper East Side of Manhattan.

Kaparamip, ‘thin robe,’ Ainu People, Hokkaido, Japan, Late 19th-early 20th Century, Cotton; appliqué, embroidery, 51 x 46 in (129.5 x 117 cm)

To view the Ainu Collection catalog, click here.

To view the Boro Collection catalog, click here.

To view the Tibetan Rug and Textile Collection catalog, click here.

To view the Islamic Calligraphic Batik Collection catalog, click here.

To learn more, click here.