Illustration to a Ragamala series: Todi Ragini, Mughal, 18th c., opaque watercolor heightened with gold on paper, Image: 5 ⅛ x 3 in. (13 x 7.6 cm), Folio: 6 ¼ x 4 ⅛ in. (15.9 x 10.5 cm)

Kapoor Galleries join in celebrating the United Kingdom’s South Asian Heritage Month with a series of works that tap into the collective histories and cultures of the region. Spotlighting Mughal miniatures and Company Paintings from the Indian subcontinent, these brightly colored and extensively detailed paintings assist in showing prominent Persian and European influences. The contextual oeuvre of these paintings covers a diverse range of themes from court scenes, portraits, architectural drawings, Ragamala paintings to illustrations of flora and fauna; all creating a theatrical spectacle for the viewer and, thereby, drawing our attention to the storytelling aspect embedded in them.

In this striking watercolor, a lone nayika wanders an open glade and stands beneath the pink blossoms of a small sapling. The vast empty landscape emphasizes the woman’s loneliness, the only audience for her longing tune being a blackbuck deer—horns delicately embellished with gold and a jeweled necklace around its outstretched neck—who serves as a stand-in for her absent lover. A cool white sun peeks through the morning haze, bringing a tinge of gold into the slowly brightening sky—the flat layers of metallic and cool colors evoking the feeling of a spring morning. The iconography is immediately recognizable as that of Todi Ragini, which recalls the wistful mood of love in separation.

For more information and to view digital catalogues, click here.

Wada Akira, Hyouri; Front/Back, 2020, unglazed carved porcelain, 8 ¼ x 5 3/4 x 5 1/4 in., Photo by Richard Goodbody

Born in Chiba Prefecture, Japan in 1978, Wada Akira belongs to the younger generation of Japanese ceramists who work within the medium of white porcelain. He first throws and then carefully carves the surfaces of his nominally functional forms that read more as sculpture than vessel. Due to the absolute precision required in using delicate dental-style tools to carve each ceramic, the making of a single sake cup may consume an entire day. Wada chooses to leave his vessels unglazed with a matte white surface or applies a clear glaze that softens the edges and reflects the light, focusing the eye of the viewer on form and contours of the vessel.

These uniquely sculptural porcelains have earned Wada grand prize awards at the Paramita Ceramic Competition, The TOKI Oribe Contemporary Teaware Exhibition and the Kikuchi Biennale at the Musée Tomo, despite his young age.

His solo exhibition, Ceramic Artist: Akira Wada — Light and Shadow, is currently on view at Mashiko Museum of Ceramic Art /Ceramic Art Messe Mashiko in Tochigi Prefecture, Japan through October 2023.

To learn more about his process and view available works, click here.

Arnold Chang & Michael Cherney, Angles 角度 #2, 2020, photography and ink on xuan paper mount on paper, 23 x 54 1/4 in. (58.4 x 137.8 cm)

Exhibited last year during Asia Week New York, Angles #2 depicts Michael Cherney’s photograph of the eroded landscape of the Loess Plateau (Mizhi county, Shaanxi province) and Arnold Chang’s distinct brushwork of a landscape that expands the dominant triangular form flowing outward in multiple directions and creating subtle tensions between the two mediums.

Chang and Cherney began collaborating in 2009 and over the years, their work has blurred the distinctions between photography and painting by harnessing the similarities between film grains and ink dots. Angles #2 is neither solely a photograph nor painting, but rather a dialogue between two artists, working in different media, embracing and reaffirming the classical aesthetics of Chinese landscape art while challenging the public's definition of shuimo 水墨 (“ink painting”).

With their deft abilities to bridge Eastern and Western aesthetics and collapse cultural binaries, Chang and Cherney stand at the forefront of the Contemporary Ink Art movement, as evidenced by this work joining The Cleveland Museum of Art collection.

For more information, click here.

Katayama Shunpan, Pictures of the Taisho Earthquake: No Escape Route at Hanazono Pond (Taisho Shinsai Gashu: Nigeba wo Ushinatta Hanazone-Ike), 1880-?

In Memoriam – 1923 Great Kanto Earthquake
Scholten Japanese Art
Online Exhibition

This year the month of September marks the 100th anniversary of the 1923 Great Kanto Earthquake, and Scholten Japanese Art recognizes the tragedy in solemn commemoration. While this event is frequently refer to as a means to date and categorize modern Japanese prints (as in ‘pre-earthquake’ or ‘post-earthquake) it is imperative to remember the humanity, resilience, and profound spirit of those who endured its devastating impact.

At two minutes before noon on September 1, 1923, a powerful earthquake measuring 7.9 on the Richter scale emanated from Sagami Bay south of Tokyo, the jolts roiling across the Kanto plain and striking Tokyo and Yokohama with tremendous force. The quake was followed by a massive tsunami and hundreds of fires were sparked by overturned stoves and broken gas lines. Over the course of three days, the fires spread across Tokyo, leaving behind a landscape of destruction and chaos.

In the aftermath, there were several artistic projects and publications which sought to record the seminal catastrophe and efforts at a rapid restoration of the capital. Their work serves as a somber memorial to the tragedy, offering a reflection on the horrors of the Great Kanto Earthquake and its lasting impact on Japan's history.

To view the exhibition, click here.

Fujinuma Noboru, Group of Sculptures, 2020-21, moso bamboo and lacquer, variable sizes

Fujinuma Noboru
August 18–September 30, 2023
Artist Opening Reception: Friday, August 18, 5–7pm
Artist Lecture: Saturday, August 19, 2–3pm

TAI Modern is pleased to welcome renowned bamboo artist Fujinuma Norboru, Living National Treasure of Japan, to Santa Fe for his second solo show with the gallery. It is already bound to be an exciting weekend in Santa Fe, with the opening reception this Friday, August 18 from 5-7pm, where the artist will be in attendance. Then on Saturday, they will host a talk given by Fujinuma-san from 2-3pm about his process, creative life, inspiration, along with much more..

This exhibition focuses on one of Fujinuma’s signature bodies of work, his mysterious and alluring lacquered bamboo cylinders. The process of making each piece a laborious one. Each carefully selected moso bamboo stalk is harvested, dried for two to three years, and carved into a form that accentuates the shape and individual qualities of that particular piece of bamboo. Then he begins to apply layers of multi-colored urushi lacquer, often upwards of 100 layers per piece. Each layer takes over eight hours to dry, so Fujinuma works on multiple cylinders simultaneously. Once he has finished applying lacquer, Fujinuma then sands through the layers, uncovering different geographies of color and composition. This results in beautifully rich and multihued pieces in a variety of sizes and complexity.

Fujinuma Noboru is an artist of immense talent and skill and has been recognized by the Japanese government as a Living National Treasure, or Preserver of Important Intangible Cultural Properties. This honor is only bestowed upon the greatest traditional artists in their given medium in Japan and has only been given to five other bamboo artists. Fujinuma Noboru was named the sixth Living National Treasure of Bamboo Art in 2012.

Despite his many honors and accomplishments, Fujinuma says, “In terms of climbing the mountain, I have not yet reached the top… One by one, I would like to leave better pieces behind. I strongly hope to create even better works of art.”

For view the exhibition and online catalogue, click here.

Fujinuma Noboru, Group of Sculptures, 2020-21, moso bamboo and lacquer, variable sizes

Fujinuma Noboru
August 18–September 30, 2023
Artist Opening Reception: Friday, August 18, 5–7pm
Artist Lecture: Saturday, August 19, 2–3pm

TAI Modern is pleased to welcome renowned bamboo artist Fujinuma Norboru, Living National Treasure of Japan, to Santa Fe for his second solo show with the gallery. It is already bound to be an exciting weekend in Santa Fe, with the opening reception this Friday, August 18 from 5-7pm, where the artist will be in attendance. Then on Saturday, they will host a talk given by Fujinuma-san from 2-3pm about his process, creative life, inspiration, along with much more..

This exhibition focuses on one of Fujinuma’s signature bodies of work, his mysterious and alluring lacquered bamboo cylinders. The process of making each piece a laborious one. Each carefully selected moso bamboo stalk is harvested, dried for two to three years, and carved into a form that accentuates the shape and individual qualities of that particular piece of bamboo. Then he begins to apply layers of multi-colored urushi lacquer, often upwards of 100 layers per piece. Each layer takes over eight hours to dry, so Fujinuma works on multiple cylinders simultaneously. Once he has finished applying lacquer, Fujinuma then sands through the layers, uncovering different geographies of color and composition. This results in beautifully rich and multihued pieces in a variety of sizes and complexity.

Fujinuma Noboru is an artist of immense talent and skill and has been recognized by the Japanese government as a Living National Treasure, or Preserver of Important Intangible Cultural Properties. This honor is only bestowed upon the greatest traditional artists in their given medium in Japan and has only been given to five other bamboo artists. Fujinuma Noboru was named the sixth Living National Treasure of Bamboo Art in 2012.

Despite his many honors and accomplishments, Fujinuma says, “In terms of climbing the mountain, I have not yet reached the top… One by one, I would like to leave better pieces behind. I strongly hope to create even better works of art.”

For view the exhibition and online catalogue, click here.

Tree and Serpent: Early Buddhist Art in India, 200 BCE–400 CE Exhibition

Conversations with … An Expert on Tree and Serpent: Early Buddhist Art in India, 200 BCE–400 CE
Thursday, August 17
3:00–3:30 PM
The Met Fifth Avenue – Gallery 999

Join John Guy, Florence and Herbert Irving Curator of the Arts of South and Southeast Asia, for an exploration of works in the recently opened exhibition Tree and Serpent: Early Buddhist Art in India, 200 BCE–400 CE. Discover the origins of Buddhist art and newly discovered and never before publicly exhibited masterpieces.

Free with Museum admission. Note that space is limited; first come, first served.

Next talk will be on Tuesday, August 29, 3:00-3:30 PM with Kalyani Madhura Ramachandran, 2023–2024 Jane and Morgan Whitney Fellow, The Met.

For more information, click here.

Janice Chung, Union Street Plaza, 2022

Koreatown LA/NY
Photo Series by Emanuel Hahn/Janice Chung
Korea Society
Closes Thursday, August 17

Two young Korean-American photographers present a series of images, a poignant portrait of a community and its habitants from the areas considered to be "Koreatown"—one in Los Angeles, one in New York. Emanuel Hahn and Janice Chung document the lives and stories in two of the most diverse neighborhoods in America, as the communities and neighborhoods themselves continue to evolve and change. It is a celebration of the Korean immigrants and their experiences, and the artists ask the viewer to reconsider the common notions of what it means to be from "here."

The Korea Society Gallery is open only by appointment. The appointment must be made at least 24 hours prior to the scheduled visit. To make an appointment, please contact [email protected].

For more information and to view the artist talks, click here.

Oishi Sayaka 大石早矢香 (b. 1980), Sensitive Apple – Black&White, 2022, stoneware, 9 x 7.8 x 7.4 in. (22.8 x 19.8 x 18.7 cm)

Clay in Motion: Women Artists in Contemporary Japanese Ceramics
Dai Ichi Arts, Ltd.
Closes Friday, August 18

Clay in Motion: Women Artists in Japanese Ceramics spotlights the works of several distinguished contemporary women artists. From emerging artists, to artists who are part of a vanguard generation of highly influential post-war artists in Japan, the works presented in this exhibition are imbued with intelligence, creativity, and sensitivity for form.

Exhibited are works by artists Kitamura Junko, Tanaka Yu, Watanabe Aiko, Etsuko Tashima, Ayumi Shigematsu, Oishi Sayaka, Shingu Sayaka, Kishi Eiko, Matsuda Yuriko, Ogawa Machiko, Hiruma Kazuyo, Ueba Kasumi.

For more information, click here.

A Magnificently Illuminated Manuscript from the Libraries of the Khan Of Bukhara and the Mughal Emperor Shah Jahan; manuscript comprising the first half of the Qur’an, Central Asia, probably Bokhara, c. 1600-1625 A.D.

Acquired by the Detroit Institute of Art in 2007, this exquisitely-illuminated manuscript contains a library note, copied in the hand of Shah Jahan, in Persian nastal’iq in black ink reading that this Qur'an was removed from the library of Nadir Muhammad Khan of Bokhara after the battle of Balkh in 1646 A.D. and subsequently in the imperial library of emperor Shah Jahan.

Shah Jahan, the fifth Mughal emperor (r. 1627-58), was a keen bibliophile and continued the traditions of his predecessors by patronizing the artists of his court atelier and adding to the imperial collections. Although often better known for his patronage of architects and his personal love of precious stones, the production of the Padshahnama manuscript, the chronicle of his reign now in the Royal Library, Windsor, is alone testament to his connoisseurship.

Nadhr Muhammad Khan came to power in 1641 and under his leadership Bukhara flourished and his court was filled with the learned and the pious. He displayed immense wealth and it is reputed that he required a thousand camels to move into Bukhara. His reign was to be short-lived as he was forced to flee from Bukhara to Balkh when his son, Abdul-Aziz rebelled against his father in 1645 A.D. He asked for help from the Mughal emperor Shah Jahan and as a result Balkh fell to the Mughals on 17th July 1646. The Mughal occupation was not a success and they were forced to hand back Balkh to Nadr Mohammad Khan on 13th October 1647. However, he never regained the authority he had had before and he abdicated after he had dominated the political life of Balkh for almost half a century. He died on his way to Mecca.

China Institute
40 Rector Street, 2nd Fl, NYC
Friday, August 11th, 6–8 pm
Tickets: $10; Free for Members & Students

Come to China Institute for a fun night of calligraphy and music with your friends and families, practice self-wellness with like-minded cultural enthusiasts, and experience rich cultures in our diverse city!

Participants are invited to practice writing with the guidance from our calligraphy expert, and to attend intimate Chinese music performances, where traditional and contemporary music of different regions and genres will be presented through various Chinese instruments. Take the chance to interact with our calligrapher, musicians and fellow cultural lovers too!

No previous experience of calligraphy is required. Ink, paper, and brush will be provided onsite. Simply come, enjoy writing and music performances. Explore a new culture or connect to your heritage!

For more information and to buy tickets, click here.