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FEBRUARY 2012
A Fragile Heritage, China Counts its Lost Ruins
January 2012
A Chinese Conundrum: Hong Kong Sales Slow Down
NOVEMBER 2011
Hong Kong Autumn Sales: Reading the Mixed Messages
OCTOBER 2011
Museum der Kulturen Basel Opens After Refurbishment
September 2011
Cover: World Heritage List New Sites
JUNE 2011
Thai Border Clashes Continue Around Preah Vihear Temple
March 2009
Art of the Korean Renaissance 1400-1600
Art of the Korean Renaissance 1400-1600
Exhibitions to see during Asia Week at the Metropolitan Museum of Art.
The early Joseon period, a time of extraordinary artistic achievements in Korea, is explored in this loan exhibition opening at The Metropolitan Museum of Art on 17 March. Showcasing approximately 45 works, including painting, ceramics, metalwork, and lacquer. The exhibition illustrates the lively and nuanced story of the formidable cultural renaissance that flourished during these two centuries. Drawn from major museums and collections in Korea, Japan, and the United States the show also includes the Metropolitan’s recently acquired mid-16th-century hanging scroll, Gathering of Scholars. The presentation will launch a series of focused exhibitions on important periods in Korean art history, to be held at the museum over the next 10 to 15 years.
Patron and Painter: Situ Panchen and the Revival of the Encampment Style
Patron and Painter: Situ Panchen and the Revival of the Encampment Style
This is the first exhibition ever devoted to an historical Tibetan artist, the 18th-century lama Situ Panchen Chökyi Jungne, who, towards the end of the 18th century had completely re-energised, strengthened and revitalized the entire artistic tradition of Tibetan thangka painting. On extremely rare occasions, thangka and mandala have been recorded that bore artists’ signatures. That having been said, the annotations for them in reference books, museum catalogues, catalogues of private collections or auction catalogues, have stopped with just the name – almost nothing more appears to have been recorded. Here at the Rubin is a true window into the workings of an artistic tradition – from the inside! Not only is an individual artist known, but also much is known about him as well as his workshop.
Hiraizumi
Hiraizumi
EXPEDITIONS WERE regularly dispatched during late Heian Japan (794-1185) to remote Tohoku, northeast Honshu, where the aboriginal Emishi, ancestors of present-day Ainu were a constant threat. After a series of successful campaigns, a northern branch of the ruling Fujiwara patrons, known as the Oshu Fujiwara, became established there. Victor of the ‘Three Years’ war, Fujiwara no Kiyohira (1056-1128), carved out a near autonomous domain from his stronghold, Hiraizumi, unifying the region around Michinoku. A devotee of the Jodo, ‘Pure Land’ sect, Kiyohira found the perfect setting ‘blessed by water’ in Hiraizumi, his capital, built as a version of Heian-kyo, present day Kyoto.
The Golden Journey: Japanese Art from Australian Collections
The Golden Journey: Japanese Art from Australian Collections
EARLY EFFORTS at collecting Japanese art in 19th-century Australia were whimsically referred to as ‘Mikado-mania’. Primarily curios from the export art of Meiji Japan (1868-1912), they made their way abroad after the first Western trade pacts ‘opened up’ the country in the 1850s. One of the earliest Australian institutions to formally collect Japanese art was the Art Gallery of South Australia at Adelaide, whose holding dates from 1904.