Yun Hyong Keun (Korean, 1928–2007), Umber-Black (detail), 1975, oil on linen; 93.5 x 113 cm; The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2022.142
Material and Immaterial in Korean Modern and Contemporary Art
April 28, 2023 – February 25, 2024
This display explores Korean modern and contemporary artists’ philosophies and attitudes toward materiality, process, and methods to express Korea’s complex history during those periods. Discussed are issues of gender, oppression, and inequity and South Korea’s postwar dictatorship in the 1970s and 1980s.
Lidded Jar with Peonies, 1897–1912. Seifū Yohei III (Japanese, 1851–1914). 2022.200
Colors of Kyoto: The Seifū Yohei Ceramic Studio
August 19, 2023 – March 10, 2024
This exhibition showcases works in porcelain and stoneware made by the Kyoto-based studio of Seifū Yohei from the late 19th to the mid-20th century. These features works by members of the Seifū family reflect both the ceramics culture of Kyoto, an ancient city and former capital of Japan, as well as the artists’ engagement with Chinese forms and techniques as an alternative way to bring Japanese porcelain into the modern era at a time when Western cultures were leaving a major mark in Japan.
Six Dynasties of Chinese Painting
November 10, 2023 – May 6, 2024
Six Dynasties of Chinese Painting presents a selection of the museum’s most important paintings that cover six different dynasties, including the modern era. These paintings represent various subject matter, from figures, landscapes, animals, birds, and flowers to religious and historic themes; their dates of acquisition range from the museum’s founding years to the most recent additions, demonstrating a continuous commitment to Chinese painting, a field that has always been the strongest asset of the Chinese collection.
To the River’s South in Japanese Painting
December 15, 2023 – June 2, 2024
The Chinese words jiang, or “river,” and nan, or “south,” together form the region name Jiangnan, or “river’s south.” The river is the Yangzi River, or “Long River,” that flows from west to east across China, emptying into the sea near the city of Shanghai. The “south” is a constellation of cities, mountain ranges, lakes, and rivers reaching as far west as Mount Lu, about eight hours from Shanghai by car (684 kilometers, or 425 miles). Core episodes in Chinese history and literature were set in or inspired by these sites. Transmitted through text and image, records and representations of Jiangnan occupied a significant position in the lives of creators and consumers of culture across East and Southeast Asia in the centuries leading up to the present. Some of the paintings and painted ceramics in this gallery show how Japanese artists of the past portrayed two landmarks in Jiangnan, Mount Lu and West Lake, and Xiao-Xiang, a place located physically west of Jiangnan but an important touch point in artistic productions from that region.
Babur receives booty and Humayun’s salute after the victory over Sultan Ibrahim in 1526, from an Akbar-nama (Book of Akbar) of Abu’l Fazl (Indian, 1551–1602), c. 1596–1597 or 1604. India, Mughal court, made for Emperor Akbar. 2013.308
Carpets and Canopies in Mughal India
March 22 – September 8, 2024
Carpets and canopies designated portable courtly spaces among nomadic groups, such as the Mongols and Turks of Central Asia. The Mughals of India, who were of Mongol and Turkic descent, continued to use carpets and canopies to mark royal presence. Even when the Mughals settled in permanent stone structures, a special carpet signaled the window (jharokha in the Mughal court language of Persian) where the populace could see and petition the emperor from below. Other regional rulers all over India soon adopted the use of the jharokha carpet to locate other members of a royal household. Mughal carpets were not meant to be walked on; instead, they functioned more like furniture, as seats of honor. They also created an intimate space where courtly pleasures were enjoyed. Using silk or pashmina—fine wool yarn made from the coats of Himalayan goats—intricate floral patterns on Mughal carpets evoke the luxury of a garden of paradise. Many of the patterns originated in paintings or manuscript illuminations. In the Mughal court of India, painters worked alongside carpet weavers and textile artists, who used dyed yarns as painters used pigments. The swirling floral vines with a central lobed medallion testify to an ongoing appreciation of Persian design. After the 1620s, Mughal artists in India began making carpets and textiles featuring individual flowering plants regularly spaced over a plain ground. Both the Persian and Mughal floral aesthetic continue to be influential in textile designs internationally.
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