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In this exhibition illuminating the evolution of art and its environments in the wake of urbanization, artworks in various genres from Korea and abroad will be presented to describe the development of “urban culture” from the eighteenth century on. The themes will range from the urban landscape to sentiment and aesthetics of the late Joseon to modern periods.
An exhibition exploring the role of the samurai class as patrons and producers of the arts, together with their legacy in Japan today.
The samurai were the military class of Japan who developed from provincial warriors into the ruling elite. They were a powerful force in Japan for more than six centuries and so had a profound effect on military and political life. High ranking warriors were also expected to develop their literary skills and they played an active role as patrons of the arts. This exhibition explores the role of the samurai class as patrons and producers of the arts. It also examines the legacy of samurai culture which remains a potent source of inspiration in Japan - and the west - today.
This exhibition has been created to support the conference: 400th Anniversary of the Death of the first Tokugawa Shogun: The Life and Legacy of Tokugawa Ieyasu
The creation of the Tokugawa shogunate (1603-1868) was one of the key turning points in Japanese history, and 2016 marks 400 years since the death of its founder, the first shogun, Tokugawa Ieyasu. To mark this important anniversary, this conference will bring together experts on Japanese history, religion, and material culture to commemorate, explain, and explore Ieyasu’s career and legacy.
From 5th October to 10th December in 2016, the special exhibition "Folktales with needle and thread" focusing on the embroidery of Joseon dynasty is shown in Bona museum.
The embroidery belongs to a part of women's weave works from old times and also has traits of practical handicraft. The artistic work that master himself drew, came from the Joseon period, since then the embroidery has become the formative art itself. Considering that the remaining embroidery until today is almost regarded as of late Joseon dynasty, we can assume that all the class of people on that time enjoyed the embroidery widely.
The embroidery screens are so-called the main work of embroidery. The subjects of screens contain the meanings related with the folk belief. The images containing the flowers like peonies and birds occupy the room of man and wife, longing for harmony between the two, wealth and fecundity. The other images of books and desks are located in the room of child or classical scholar, and suggest that this room is about learning. At the case of letter images screens, the letters explain mainly the Confucianism philosophy, and they are shown as just letters themselves or sometimes with images.
All these things taken together, the embroidery is handicraft possessing the nature of painting. As an outgrowth which is not made by just one but made by all the people and their era, it could be the unique folk crafts reading the period. This special exhibition contains the works from the museum's own collections like the screen with wild gooses, based on the sketch of Kihoon Yang, the screen of flowers and birds, the screen of letters and also the folk paintings with same sketches.
We hope you meet and understand the beautiful aspects of Korean traditional embroidery at this special exhibition in Bona museum, "Folktales with needle and thread".
The Islamic Arts Museum Malaysia (IAMM) is pleased to present "Dala'il al-Khayrat: Prayer Manuscripts From The 16th To 19th Centuries" exhibition that will showcase its finest collection of one of the most important manuscripts in the Islamic World. The collection highlights Dala'il al-Khayrat copies from its native land, Morocco to as far as East Turkistan and China. Dala'il al -Khayrat has inspired calligraphers, illuminators and painters of court ateliers in producing sumptuous illustrated and illuminated manuscripts. These manuscripts reveal the history and the diverse art form of the Islamic World.
A new exhibition, opening on 7 October at Ubud’s Museum Puri Lukisan, includes 69 paintings by Ketut Madra of Peliatan and 22 other artists, all working in the oldest style of Balinese painting and telling the ancient Hindu and Buddhist legends of Bali’s shadow puppet theater or wayang kulit.
Ketut Madra and 100 Years of Balinese Wayang Painting celebrates work created from the early 20th century to the present. “Many of the paintings in this exhibition were collected by our guest curator David Irons of New York when he lived in Bali for a year in 1973,” said Tjokorda Bagus Astika, director of the museum. “His remarkable collection is supplemented by work from our museum, ARMA and private collections. The exhibition also includes 35 paintings painted over the last 42 years by internationally recognized wayang artist Ketut Madra from his own and Mr. Irons’s collections.”
A 64-page, large format, color catalog, in English (with Indonesian translation) by Mr. Irons accompanies the exhibition. “This exhibition and catalog are an important introduction to wayang painting,” Tjokorda Bagus continued. “This is the original painted art of Bali: The first wayang paintings were created almost a thousand years ago to tell these epic stories in our temples and palaces.
“Wayang painting continues today in both modern form and in the traditional way as temple art, with both forms represented in the exhibition,” Tjokorda Bagus said. Ketut Madra is the only wayang master working in Ubud today whose modern interpretations of Bali’s legends are in collections on four continents, while his traditional work graces the family temples of his neighbors and the major pura of Peliatan and Pengosekan.”
“I became fascinated by this art 40 years ago,” Mr. Irons said. His interest led to his curating the first U.S. exhibition of contemporary wayang painting, Legendary Paintings of Bali, at Harvard University’s Fogg Art Museum in 1974. “Balinese legends are a window to the culture. Having some understanding of them is key to understanding not only the role of Bali’s Hindu-Buddhist religious life, but also the way the Balinese people see the world around them.
“I’ve known Ketut Madra and his work for 40 years,” he continued. “As both painter and masked dancer in the festivals of his temples, his work is central to his devotional and spiritual life. I hope the exhibition and catalog will introduce this art and these stories to people who want to learn more about Bali’s culture.”
“David and Ketut Madra approached us about doing this exhibition last year,” said Soemantri Widagdo, a curator at the Museum Puri Lukisan. “We knew Pak Ketut’s work, of course, and the idea of a wayang exhibition focused on his career with historical perspective on the art form was immediately attractive.
“Once we saw the quality of the paintings in David’s collection, it was clear we should do this. And when he told us that he and Pak Ketut were willing to sell much of this work in a way that benefits the museum, we felt we had an obligation to help. And we also bought two pieces immediately for the museum’s collections.
“The museum has rarely exhibited the work of a foreign collector of Balinese traditional painting and it is unusual for us to mount a thematic exhibition around our own mission with an important catalog by a guest curator,” Soemantri said. “We hope to do more of this.”
Life in the Midst of Beauty. The world of Chinese Scholar as part of exhibition exchange programme between the National Museum in Warsaw and the National Museum of China is planned to be held in Warsaw from 30th September 2016 to 8 January 2017. The exhibition focuses on "scholar-officials"- a special elite class in ancient Chinese society - their emergence, everday life and painting. Over 160 objects from the National Museum of China collection, including calligraphy, painting, ceramics, jades, bronzes, furniture and textiles, will be on show.
With a history of more than a thousand years the ancient Silk Road has provided the cultural, political and economic exchange between the East and the West guiding traders through countless rivers and roads, through mountains and valleys. It began in the Ancient China and connected Central and West-Asia to Europe leaving innumerable historical proof from regions which spread along the Silk Road.
The exhibition The Silk Road. Ancient Chinese Art displays around hundred artefacts starting from the Western Zhou Dynasty (1046–771 BC) until Ming Dynasty (1368–1644 AD) from a region from which the ancient Silk Road began and demonstrates the interaction between Eastern and Western cultures during this period. The Silk Road influenced both material and religious life of people. It provided Europe with opportunities to get acquainted with new craft techniques, materials, cultures and religions. Meanwhile European influences also travelled back to China and were reflected in the ornaments and images used in art and crafts and also China was introduced with different cultures and religions.
Although the trade routes started to develop already before the Han Dynasty (206 BC–220 AD) the first flourishing of the Silk Road started in this period. Therefore visitors will have a chance to see brilliant examples of ceramics, bronze, jade, gold, lacquer and textile art of the Han Dynasties.
The second rise of the Silk Road is connected with the Tang Dynasty (618–907 AD), which is considered one of the peak points of the Ancient Chinese Culture. Several artefacts from the Tang Dynasty present one of the symbols of the Silk Road – a camel. Trade caravans often used camels to carry weight. Camel is depicted in different materials from ceramics to gold.
Also different varieties of textiles are displayed in the exhibition. Through times diverse objects were used for exchange and trading, but the significance of the silk and other textiles is indescribable. The Silk Road earned its name from the silk and textiles gained popularity among traders. Almost 5000 years ago Chinese began to produce silk, while in Europe it began only during the Middle Ages. For this reason for many centuries silk was more valuable than gold when it reached Europe.
The exhibited artefacts come from Xinjiang Uygur Autonomous Region, which is an integral part of the Silk Road, because three or four thousand years ago the cultural exchange was pioneered between the East and the West due to migration of the nomads. Some objects from this region embody the first connections between Asia and Europe. Few Ancient Chinese art pieces show the influences of Greek and Roman cultures. Also Henan Province is represented in the exhibition. Henan Province lies on the middle and lower reaches of the Yellow River and is the paramount cradle of the Chinese culture.
The Silk Road is the first Ancient Chinese art exhibition held in Latvia showing not only the artefacts of the Xinjiang Uygur Autonomous Region and Henan Province, but also demonstrating how the ancient Silk Road influenced the cultural exchange of the East and the West.
Exhibition is organized to celebrate the 25th anniversary of the establishment of diplomatic relations between the People’s Republic of China and the Republic of Latvia.
Rakuyaji (Koka City, Shiga Prefecture), an ancient temple of the Tendai sect of Buddhism, has preserved twenty Buddhist statues from the Heian period (794–1192) designated Important Cultural Properties. This number is outstanding even in Shiga Prefecture, where a many fine Buddhist statues remain to this day. This exhibition is the first opportunity to show all twenty of these statues outside Rakuyaji Temple. The principal deity, a Seated Juichimen Kannon Bosatsu (Ekadasamukha), is approximately three meters high, exhibiting overwhelming presence. It is a “hidden” statue that is usually kept behind large, heavy doors. Other works on exhibit include eleven other Kannon (Avalokitesvara) statues, a Standing Bishamon Ten (Vaisravana), which somehow gives a familiar impression, and a Seated Jizo Bosatsu (Ksitigarbha), which is an exceptional statue created in 1187. This exhibition shows, in one sweep, masterpieces of Heian-period Buddhist sculpture preserved in Rakuyaji Temple.
In the new exhibition "Baekje Historic Areas of World Heritage" that is to open Tuesday, the National Museum of Korea will showcase historic relics and cultural heritage uncovered from sites where the former kingdom was located. It is also to mark the one year anniversary of the Baekje Historic Areas being listed on the UNESCO World Heritage List in July last year. The Baekje areas are the 12th historic areas to be recognized by the U.N. agency.
The exhibition is the first since the museum opened a similar event in 1999 focusing on the kingdom's unique culture and history that hold universal value, according to the museum.
he Baekje Kingdom (18 B.C. - 660 A.D.), which used to stand in the midwestern region of Korea, is one of the Three Kingdoms of Korea, together with Koguryo and Silla. The UNESCO-registered areas cover eight archaeological sites including the Gongsanseong fortress and Jeongnimsa Temple Site.
In the exhibition, some 350 pieces of the kingdom's artifacts are shown under three sections: capital cities, Buddhist temples and royal tombs.
Even though Baekje was influenced by ancient Chinese culture, it reinterpreted and absorbed it in its own unique way and spread it to other Korean kingdoms and Japan.
The colour red has a strong affiliation with China and it has played an important role in Chinese culture for centuries.
The colour remains significant to the Chinese today. It is the primary colour on the flag of People's Republic of China and the colour is seen everywhere during the Lunar New Year.
Most objects in the collection at the Museum of East Asian Art are of Chinese origin. Many are decorated with red colours, including ceramics, lacquerware, prints and paintings. This exhibition presents the materials used to produce red colours, explains the symbolism of the colour red and explores the rapid advancement of red wares during the Ming dynasty(1368-1644)