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Asian Art Calendar of Events

Wednesday, January 22, 2020
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New Arts of Asia
Place: The Walters Art Museum - Baltimore, 600 N. Charles Street, Maryland, USA
Date: Oct 01, 2017 to Sep 30, 2020
Detail: Find time for tranquility and reflection in Arts of Asia, the Walters’ new installation of one of the most exceptional collections of Asian art in North America. The dramatic display offers a rich exploration of artistic traditions from diverse cultures and regions across India, Nepal, Tibet, China, Korea, Japan, Myanmar, Thailand, and Cambodia. The stunning array of 150 works spanning 2,000 years includes more than 30 objects that have never been on view. Visitors are invited to enjoy the stillness and serenity of these works of art and to share the experience of quiet contemplation that they inspire.


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New Encountering the Buddha: Art and Practice across Asia
Place: Freer Gallery of Art / Arthur M. Sackler Gallery, Smithsonian Institution - Washington, D.C., 1050 Independence Ave SW, USA
Date: Oct 14, 2017 to Oct 14, 2020
Detail: Encounter Buddhist art through the lens of spiritual practice and the perspectives of practitioners. Drawing on the Freer|Sackler’s collections from across Asia, this exhibition expands the understanding of Buddhism in Asian art through both beautiful objects and immersive spaces. Visitors can step into a Tibetan Buddhist shrine, travel the Buddhist world with an eighth-century Korean monk, visit a Sri Lankan stupa, meet teachers and guardians, and discover multiple Buddhas and bodhisattvas. Encountering the Buddha illuminates the ways in which art and place embody and express the teachings of Buddhism.

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New The Art of Lacquer
Place: Crow Museum of Asian Art - Dallas, 2010 Flora St, USA
Date: Sep 28, 2018 to May 03, 2020
Detail: The Art of Lacquer introduces lacquerware objects from the museum’s collection.


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New Masterworks of Himalayan Art
Place: The Rubin Museum of Art - New York, 150 West 17th St., USA
Date: Apr 19, 2019 to Mar 23, 2020
Detail: Masterworks, a regularly changing exhibition at the Rubin, explores major strands in the development of Himalayan art, covering a period of over one thousand years, and presents regional artistic traditions in their broad cultural, geographic, historical, and stylistic contexts. The 2019 iteration of this exhibition draws primarily from the Rubin collection and is augmented by a few select long-term loans.

Masterworks is organized geographically, showcasing the diverse regional traditions of western Tibet, central Tibet, eastern Tibet, and Bhutan in relation to the neighboring areas of Eastern India, Kashmir, Nepal, China, and Mongolia. Highlights from the exhibition include:

● An elegant 12th-century Lotus Mandala from northeastern India which resembles a flower, with mechanical hinges that allow the petals to open, revealing the central deity surrounded by eight dancing yoginis.
●Durga Killing the Buffalo Demon, a powerful 13th-century Nepalese depiction of the goddess at the climactic moment of her victory, one of the great sculptural treasures of the Rubin Museum.
● An elegant 17th-century Tibetan gilt-bronze sculpture of a yogini, the female tantric deity Nairatmya, or “Goddess Without Self,” recently gifted to the Museum.
● A dramatic, 5-foot-wide Eastern Tibetan painting of the goddess Tara Saving from the Eight Fears, a one stop for protection, long life, and good fortune.
● A fantastical Mongolian woodcarving of the Skull Palace of the fierce protector and god of war, Begtse Chen, constructed almost entirely from skeletons and pinnacles of skulls.

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New Charged with Buddha’s Blessings: Relics from an Ancient Stupa
Place: The Rubin Museum of Art - New York, 150 West 17th St., USA
Date: May 31, 2019 to Jun 08, 2020
Detail: See it to believe whether Buddhist relics and their stories have power. In the late 19th century, excavation of a site in northern India revealed an ancient stupa with five intact reliquaries, one of which had an inscription claiming it contained the remains of the Buddha. This installation tells the story of this remarkably discovery and features the offerings of gems and gold foil ornaments that were enshrined together with the reliquaries. In essence, these items can be considered “contact relics,” imbued with the blessings of the Buddha’s corporeal remains, objects with the power to increase merit.

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New Future Retrospective: Master Shen-Long
Place: Crow Museum of Asian Art - Dallas, 2010 Flora St, Texas, USA
Date: Jun 01, 2019 to Aug 23, 2020
Detail: For over 50 years, Master Shen-Long, a contemporary master of the classical Chinese literati perfections of painting, poetry, and calligraphy, as well as seal-carving, has pioneered new approaches to painting that has made him one of the most innovative ink artists of this generation.

In the early 1990s, he developed a new abstract ink method for paper and canvas, resulting in richly detailed reversible works that blur the line between painting and sculpture, and expresses unlimited time, space, and energy. He works in a limitless variety of styles, formats and techniques. Influenced by his deep understanding of Buddhist, Daoist and Confucian philosophies, Master Shen-Long’s bold and experimental work challenges traditional assumptions about Chinese painting, and raises important concepts regarding mankind’s relationship with the universe.

This exhibition will not only serve as the artist’s mid-career retrospective, but is also the artist’s first solo museum presentation in Texas.


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New Divine Women, Divine Wisdom
Place: The Berkeley Art Museum and Pacific Film Archive - Berkeley, 2155 Center Street, California, USA
Date: Jun 26, 2019 to May 24, 2020
Detail: For millennia and throughout the world, secular and religious art has celebrated the power and beauty of women in representations of the female form. In art from South Asia and the Himalayan region, women are often depicted and appreciated within the context of Hindu and Buddhist traditions for their beauty, fecundity, wisdom, power, and compassion. This exhibition seeks to explore the feminine image and the female role in the great traditions within a particular region of Asia. The elegant representations of women as classical beauties can be seen in an early second- or third-century Gandharan sculpture of the goddess Tyche, who is closely associated with good luck. Later, within the Buddhist tradition, she becomes the deity Hariti, who with her consort Pancika are regarded as the model couple. The sweet face of a girl in Bust of a Young Woman, which was made at about the same time and within the same Gandharan tradition, underscores the mastery of the sculptor who brought to life the simple innocence of a girl lost in her own thoughts. Images of robust women both large and small represent South Asian ideals of beauty that emphasize the fecundity of their bodies. Within the Himalayan tradition the sensual is replaced with measured restraint and a contemplative appearance. The divine Tara is understood through her gracious gaze to embody a deep spiritual understanding and compassion. On the other hand, Prajnaparamita, shown with multiple arms and armor-like jewelry, exudes great power as the personification of wisdom.


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New Sun Xun: Time Spy
Place: The Ringling - Sarasota, 5401 Bay Shore Road, Florida, USA
Date: Aug 11, 2019 to Feb 16, 2020
Detail: Time Spy (2016) is a mesmerizing 3D animated film by Chinese artist Sun Xun (b.1980). A superb painter and draughtsman, Sun Xun incorporates traditional techniques including ink painting, charcoal drawing, and woodblock printing into his films. His masterful use of analog and digital technologies to explore pressing concerns of our time makes him one of the most compelling artists working in new media.

Based in Beijing, Sun Xun was born in Fuxin, northeast China. He studied printmaking at the China Academy of Fine Arts, and founded Pi animation studio in 2006. Growing up in the aftermath of the Cultural Revolution, he has long been interested in how history is constructed for official purposes, as opposed to how it is lived and experienced by ordinary people. He has been the subject of solo and group exhibitions at major museums worldwide, and has received numerous honors.

Time Spy was conceived as part of a project called Reconstruction of the Universe, a multimedia installation Sun Xun made for the second edition of the Audemars Piguet Art Commission, a prestigious program that supports artists in the creation of works of “exceptional complexity, precision, and experiential impact.” A shortened version was screened at midnight at Times Square in July 2017.

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New Following the Box
Place: Pacific Asia Museum - Pasadena, 46 North Los Robles Avenue, California, USA
Date: Sep 13, 2019 to Jan 26, 2020
Detail: Following the Box is an art exhibit inspired by a collection of found by guest curators, Alan Teller and Jerri Zbiral, photographs taken in India by an unknown U.S. serviceman towards the end of WWII.

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New Hinges: Sakaki Hyakusen and the Birth of Nanga Painting
Place: The Berkeley Art Museum and Pacific Film Archive - Berkeley, 2155 Center Street, California, USA
Date: Oct 02, 2019 to Feb 02, 2020
Detail: Hinges: Sakaki Hyakusen and the Birth of Nanga Painting is the first US exhibition to focus on the art of Sakaki Hyakusen (1697–1752), the founding father of the Nanga school of painting in Japan. A pivotal figure in the history of Japanese art, Hyakusen served as a hinge between two artistic traditions: working from close observation of Chinese painting, he played a key role in the transformation of painting in eighteenth-century Japan. Much like the literati painting tradition in Ming dynasty China, where painting was appreciated as an expression of the learned gentleman with deep knowledge of literature, poetry, philosophy, and art, the Nanga school artists used painting as a means to express their own deep thoughts and feelings. This presentation brings together works by Hyakusen with stellar pieces by artists from the first and second generations of Nanga painting, such as Ike Taiga and Yosa Buson, drawn from the collections of BAMPFA as well as major lenders including the Philadelphia Museum of Art, Metropolitan Museum of Art, and Minneapolis Institute of Art.


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New Weng Family Collection of Chinese Painting: Family and Friends
Place: Museum of Fine Arts, Boston - Boston, 465 Huntington Avenue, USA
Date: Oct 12, 2019 to Aug 09, 2020
Detail: Celebrating a landmark gift of Chinese art

There is an intimate connection between Chinese art and human relationships. Friends gather to unroll and view their favorite paintings. Moving letters brushed in expressive calligraphy are cherished and preserved for centuries. Wan-go H. C. Weng, one of the most respected collectors and connoisseurs of Chinese painting in the US, recalls watching and listening as a young boy while his family admired and discussed works of art.

In 2018, Weng made the largest gift of Chinese paintings and calligraphy to the MFA in the institution’s history, comprising 183 objects that were acquired and passed down through six generations of his family. This exhibition features approximately 20 works from the gift that relate to concepts of family and friends.

“Weng Family Collection of Chinese Painting: Family and Friends” includes paintings and calligraphy by some of the greatest masters from the Ming (1368–1644) and Qing (1644–1911) dynasties. The intimate Suzhou Sceneries (1484–1504) album describes Shen Zhou’s travels with friends around his home regions. The calligraphy in Nine Letters to Home (1523), written by Wen Zengming to his wife and sons, displays a spontaneity of style rarely found in the artist’s more formal works. The most recent piece in the exhibition is a handscroll painted by Wan-go H. C. Weng himself, Elegant Gathering at the Laixiju Studio (1990). The contemporary work commemorates a momentous gathering of friends—including six esteemed historians of Chinese paintings—held at the collector’s home in 1985.

This is the first in a series of three exhibitions celebrating the landmark donation made by Wan-go H. C. Weng, a longtime supporter of the MFA who has devoted himself to the preservation and study of China’s cultural heritage.


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New The Eternal Feast: Banqueting in Chinese Art from the 10th to the 14th Century
Place: Princeton University Art Museum - Princeton, New Jersey, USA
Date: Oct 19, 2019 to Feb 16, 2020
Detail: The Eternal Feast: Banqueting in Chinese Art from the 10th to the 14th Century brings to life the art of the feast during three transformative Chinese dynasties, the Song, Liao, and Yuan, which together enjoyed a thriving economy, cultural flourishing, and the intermingling of foreign and native traditions. Focusing on a rare group of surviving paintings from the period—along with ceramic, lacquer, metal, and stone objects as well as textiles—the exhibition reveals feasts to be singularly positioned to illuminate one of the most enduring and significant facets of the Chinese tradition: the continuum between life and the afterlife. The exhibition features fifty objects arranged in sections that focus on ladies banqueting in the past, gentlemen feasting in the present, and dining in the afterlife. Several other aspects of elite feasting—including costume, cuisine, music, and dance, as well as burial customs, architecture and gardens, artistic patronage, and painterly practice—are also explored, offering a window into life, death, and art during a time period whose cultural influence extends in China to the present day.


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New Form is Emptiness, Emptiness is Form
Place: Asia Society Texas Center - Houston, 1370 Southmore Blvd., Texas, USA
Date: Nov 16, 2019 to Mar 29, 2020
Detail: Asia Society Texas Center features the exhibition Form is Emptiness, Emptiness is Form: Works by Miya Ando. Drawing on the important Buddhist text known as the Heart Sutra, artist Miya Ando responds to our unique building with references to elemental materials such as metal, light, water, and wood. This site-specific response to Yoshio Taniguchi's architecture reframes the visitor's perception of the space, and invites contemplation of the nature of reality.


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New Lost at Sea: Art Recovered from Shipwrecks
Place: Asian Art Museum - San Francisco, 200 Larkin St, USA
Date: Nov 26, 2019 to Mar 22, 2020
Detail: A fierce three-headed serpent and a mysterious female deity were among the nearly two dozen 12th-century stone reliefs from Central Vietnam that lay unseen at the bottom of the Arabian Sea for nearly 120 years. Almost 5,000 miles away in the South China Sea, blue-and-white ceramic bowls, plates and jars rested in the hold of a sunken ship off the coast of Vietnam for more than five centuries.

Preserved like time capsules under the seas, these shipwrecks contained artworks that were excavated in the 1990s by marine archaeologists, sold at auction, purchased by individual collectors and then donated to the museum. By tracing the pathways of these objects, from Vietnam to the ocean floor to San Francisco, Lost at Sea: Art Recovered from Shipwrecks asks questions about how artworks enter museum collections. What does the provenance of an object reveal? What can art salvaged from the sea tell us about trade and the colonial enterprise? Who is entitled to centuries-old artworks recovered from shipwrecks? Should they even be excavated, or should vessels and their contents be left in situ for future generations?

The ceramics are from a trading vessel that sank in the 15th century off Vietnam’s Hoi An coast with a cargo of more than 250,000 ceramic objects made for export. After fishermen began to find porcelain shards in their nets in the 1990s, a government-sanctioned commercial salvage operation brought up the cache, dubbed the Hoi An Hoard.

The stone sculptures, relics of the Cham culture that thrived along the coast of Central Vietnam from the 5th to the 15th century, had been carted off from a ruined temple by a French colonial officer in the 19th century. The two works in the museum collection are from a group of 21 that were on their way to France when the steamer they were on sank off the coast of Somalia in 1877. Almost all passengers and crew were saved, but the stone sculptures, apparently too heavy to transport to shore, were left in the wreckage; they were finally retrieved in 1995.

The exhibition includes artifacts from these two shipwrecks, including a slowly disintegrating concretion of objects from the Hoi An Hoard, along with maps and other materials that invite consideration of how artworks travel across time and cultures.


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New Chang Dai-chien: Painting from Heart to Hand
Place: Asian Art Museum - San Francisco, 200 Larkin St, USA
Date: Nov 26, 2019 to Apr 26, 2020
Detail: Celebrating Chang Dai-chien
Chang Dai-chien is one of the most acclaimed Chinese artists of the 20th century. To mark the 120th anniversary of his birth and 47 years since his previous solo show at the museum, we are inaugurating the newly renovated Chinese painting gallery with Chang Dai-chien: Painting from Heart to Hand. Comprising works donated to the museum by the artist, as well as loans from his friends and family, the exhibition spotlights Chang’s groundbreaking modernization of ink painting.

Born in 1899 in Sichuan province, Chang traveled extensively to seek sources of inspiration in the historical past and in nature. In the early 1940s, he spent more than two years studying and copying ancient Buddhist paintings in the caves of Dunhuang, instigating new interest in these overlooked masterpieces. His exhibitions following this sojourn earned him artistic success and recognition as a true master.

Chang left China in 1949, eventually settling in California in 1969, first in Carmel-by-the-Sea and then Pebble Beach. During this period of self-imposed exile, he was inspired by Western art and California’s distinctive landscape, and his splashed-color paintings came close to total abstraction.

Chang left California in 1977 for Taiwan, where he died in 1983. He continues to be internationally recognized as a pivotal figure who expanded the field of traditional Chinese ink painting. We are pleased to honor his legacy with this exhibition showcasing his unique artistic vision.

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New Exceptionally Ordinary: Mingei 1920–2020
Place: Seattle Art Museum - Seattle, 1300 First Ave, USA
Date: Dec 14, 2019 to Jul 11, 2020
Detail: Initiated in 1920s by the Japanese collector and connoisseur Yanagi Soetsu (1889–1961), the Mingei movement elevated functional, everyday crafts to art objects. While folk arts were important sources in the foundation of the movement, Mingei’s impact goes beyond Japanese folk crafts and even beyond the artists closely associated with the movement in the mid-twentieth century. Ranging from mid-century decorative arts to contemporary designs, the ceramics, textiles, sculptures, and prints in this exhibition are seen as exceptional art works in the broad applications of Mingei. Created by artists from Japan, Korea and the US, they all share characteristics of Mingei, such as the anonymity and honest labor of the maker as well as the simplicity and functionality of the objects. Positioning Mingei within a history of crafts and crafts-making, this exhibition celebrates the legacy of Mingei as its centennial approaches.


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New Conservation in Action: Japanese Buddhist Sculpture in a New Light
Place: Museum of Fine Arts, Boston - Boston, 465 Huntington Avenue, USA
Date: Dec 15, 2019 to Jun 30, 2020
Detail: A rare, behind-the-scenes look at the conservation of seven Buddhist sculptures

Visitors are invited to watch as objects conservators study and treat seven Japanese Buddhist sculptures in a public conservation studio. The wooden figures—images of worship depicting Buddhas, Guardian Kings, and a Wisdom King—are decorated with polychromy or gilding and date from the 9th to the 12th centuries. The conservation project occupies an entire gallery in the Museum, allowing visitors to observe the techniques employed by objects conservators as they carefully clean the sculptures and secure areas of loose paint, lacquer, and gilding. The gradual relocation of the sculptures from the Museum's beloved Japanese Buddhist Temple Room, where they normally reside, enables museum-goers to see the objects in a new setting for the first time in decades. Also on exhibit are three sculptures from storage that serve as points of comparison to exemplify different sculptural techniques, styles, and states of preservation.

The public studio also provides a space for conservators and curators to look closely at the sculptures in collaboration with the Museum's research scientists, identifying the original artists' materials, documenting early restorations, and working with wood anatomists in Japan to confirm the wood identifications. In 2020, the sculptures will return to the refurbished Japanese Buddhist Temple Room.


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New Brave Warriors and Fantastic Tales: The World According to Yoshitoshi
Place: The Berkeley Art Museum and Pacific Film Archive - Berkeley, 2155 Center Street, California, USA
Date: Jan 15, 2020 to May 31, 2020
Detail: Among the last great ukiyo-e artists of Meiji Japan, Taiso Yoshitoshi (1839–1892) reigned supreme for his daring prints based on various tales and legends of ancient Japan and China. He made use of Western colors and inks for dramatic effect, yet stayed loyal to the woodblock print techniques that had guided past masters. In his short life, he created numerous series exploring a multiplicity of themes related to Japan’s rich history. In Brave Warriors, legendary warriors of Japan come to life to bring honor to themselves and their masters. In One Hundred Aspects of the Moon, exquisitely attired men and women are cast as theatrical players in settings that evoke melancholy, romance, and bravery. Fantastic creatures inhabit his series known as Thirty-Six Ghosts, featuring figures that both frighten and amuse the viewer with their dramatic design.

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New Where the Truth Lies: The Art of Qiu Ying
Place: Los Angeles County Museum of Art, Resnick Pavilion - Los Angeles, 5905 Wilshire Blvd., California, USA
Date: Feb 09, 2020 to May 17, 2020
Detail: Few artists in Chinese history have proven as enigmatic as the great Ming dynasty painter Qiu Ying (c. 1494–c. 1552), whose life and art reveal a series of paradoxes. Though one of the most famous artists of the Ming period, almost nothing is known about his life. He is said to have been illiterate, yet surviving evidence demonstrates elegant writing. He is said to have had few followers, yet he was the most copied painter in Chinese history. Where the Truth Lies grapples with such issues as artists who cross social boundaries, literacy, and the importance of connoisseurship in determining quality and authenticity. This will be the first exhibition on Qiu Ying ever organized outside of China and Taiwan. In addition to masterworks by Qiu Ying, the exhibition will include works by his predecessors and teachers, his daughter Qiu Zhu, and followers from the early 16th through the mid-20th century.


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New The Art of Impermanence: Japanese Works from the John C. Weber Collection and Mr. and Mrs. John D. Rockefeller 3rd Collection
Place: Asia Society Museum - New York, 725 Park Avenue, USA
Date: Feb 11, 2020 to Apr 26, 2020
Detail: Impermanence is a pervasive subject in Japanese thought and art. Through masterpieces of calligraphy, painting, sculpture, ceramics, lacquers, and textiles drawn from two of America’s greatest Japanese art collections, this exhibition examines Japan's unique and nuanced references to transience. Objects span from the Jōmon period to the twentieth century. From images which depict the cycle of the four seasons and red negoro lacquer worn so it reveals the black lacquer beneath, to the gentle sadness evoked in the words of wistfully written poems, the exhibition demonstrates that much of Japan's greatest art alludes directly or indirectly to the transient nature of life.


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New Yoshitomo Nara
Place: Los Angeles County Museum of Art, BCAM, Level 2 - Los Angeles, 5905 Wilshire Blvd., California, USA
Date: Apr 05, 2020 to Aug 02, 2020
Detail: Yoshitomo Nara is among the most beloved Japanese artists of his generation. His widely recognizable portraits of menacing figures reflect the artist’s raw encounters with his inner self. A peripatetic traveler, Nara’s oeuvre takes inspiration from a wide range of resources—memories of his childhood, music, literature, studying and living in Germany (1988–2000), exploring his roots in Japan, Sakhalin, and Asia, and modern art from Europe and Japan. Spanning over 30 years from 1987 to 2020, Yoshitomo Nara views the artist’s work through the lens of his longtime passion—music. Featuring album covers Nara began collecting as an adolescent, paintings, drawings, sculpture, ceramics, an installation that recreates his drawing studio, and never-before-exhibited idea sketches that reflect the artist’s empathic eye, this exhibition shines a light on Nara’s conceptual process. One of the main highlights will be Miss Forest, a 26-foot outdoor painted bronze sculpture that will grace Wilshire Boulevard.


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Europe & Africa USA & Canada | Asia

New Burrell at Kelvingrove: Collecting Chinese Treasures
Place: Kelvingrove Art Gallery and Museum - Glasgow, Argyle Street, United Kingdom
Date: Sep 14, 2019 to Mar 31, 2020
Detail: See some of the wonderful porcelain, bronze and Jade from the Chinese Dynastic periods collected by Sir William Burrell, including Tang Dynasty tomb guardian figures, elaborate forms of ritual bronzes that are more than 2,500 years old and a rare Ming Dynasty blue-and-white tankard.

The works for this exhibition have been chosen by Jorge Welsh, an internationally renowned collector, dealer and expert in Chinese art with galleries in London and Lisbon, and Dr Yupin Chung, curator of Chinese and East Asian Art for Glasgow Museums.

The amount of Chinese works in the Burrell Collection represents the third largest collection in Europe. It contains around 146 pieces of jade which date as far back as the Shang dynasty, 170 bronzes and more than 1400 ceramics including objects from the Neolithic period.


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New Kimono: Kyoto to Catwalk
Place: Victoria and Albert Museum - London, Cromwell Road, United Kingdom
Date: Feb 29, 2020 to Jun 21, 2020
Detail: This exhibition will present the kimono as a dynamic and constantly evolving icon of fashion, revealing the sartorial, aesthetic and social significance of the garment from the 1660s to the present day, both in Japan and the rest of the world.


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Asia USA & Canada | Europe & Africa

New Nestorian Crosses of the Yuan Dynasty
Place: University Museum and Art Gallery, The University of Hong Kong - Hong Kong, 90 Bonham Road, Pokfulam, Hong Kong
Date: Jun 10, 2016 to Dec 31, 2022
Detail: The University of Hong Kong’s (HKU) Nestorian crosses were assembled by a Mr. F. A. Nixon who served as a British postal commissioner in Beijing in the 1930s and 1940s. Subsequently the collection was acquired by the Lee Hysan Foundation and donated to Hong Kong University in 1961.

Nestorian bronze crosses were cast in the Ordos region in north-west China (Inner Mongolia) during the Yuan dynasty (1272–1368). They measure between 3 and 8 cm in height, are flat plaque-like ornaments with an outline in high relief and have a loop on the back suggesting that they were used as personal seals and were worn on the body. The loop facilitates a strapping to human clothing or girdles. The fine motifs of the cast Christian and Buddhist symbols and the rare survival of red-coloured ink deposits in intermittent lower parts of the design, suggested that these seals were used as chops and transferred their individual designs by printing them on other matters. Although all crosses are cast, the Nestorian crosses all seem to be unique and are, in fact, characteristic for their individual designs.

Stylistically, all crosses fall into 4 different categories, many with mixed Christian and Buddhist motifs in the same artefact. The majority are executed in crucifix form—hence the group description as ‘crosses’—with either flat or round ends. Other ‘crosses’ in fact take the shape of animals, predominantly birds, but also hares and fish, as well as geometrical patterns, such as sun-like designs and miscellaneous Chinese seal-like forms.


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New Ancient Religions
Place: Asian Civilisations Museum - Singapore, 1 Empress Place, Singapore
Date: Dec 12, 2017 to Dec 31, 2021
Detail: The ACM permanent galleries on Level 2 explore how artists have masterfully expressed complex ideas about life and existence with religions in sculpture and paintings. Beginning with the Ancient Religions exhibition, which explores early styles and motifs of Buddhism, Hinduism, and Jainism in India and how they spread to China and the larger Southeast Asia, the story continues in the following galleries as the art developed and evolved through the centuries.

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New Crowning Glory: The Beauty of Ladies’ Ornaments From Asia And Europe
Place: Liang Yi Museum - Hong Kong, 181-199 Hollywood Rd, Sheung Wan, Hong Kong
Date: Sep 17, 2019 to Feb 27, 2020
Detail: Liang Yi Museum is delighted to present Crowning Glory: The Beauty of Ladies' Ornaments from Asia and Europe, a landmark exhibition exploring the role women’s clothing and accessories played in the social construction of gender and identity from the late imperial era in China and Japan to the early modern period. The compelling selection features over 250 exhibits, including objects of everyday use from traditional Chinese furniture associated with the boudoir, Japanese hair ornaments and silver pieces, to textiles from both cultures, providing an insightful view into the traditional and modern concept of female beauty in the East, and its dilution and evolution upon the introduction of Western notions, morals and ideas.


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New Suddenly Turning Visible: Art and Architecture in Southeast Asia (1969-1989)
Place: National Gallery Singapore - Singapore, 1 St Andrew's Rd, Singapore 178957, Singapore
Date: Nov 19, 2019 to Mar 15, 2020
Detail: 19 November 2019 – 15 March 2020
Koh Seow Chuan Concourse Gallery and The Ngee Ann Kongsi Concourse Gallery
National Gallery Singapore

Suddenly Turning Visible: Art and Architecture in Southeast Asia (1969-1989) at National Gallery Singapore reveals the connections between art and architecture in Singapore, Bangkok and Manila, during their transformation into modern metropolises.

The driving force of the period was the logic of developmentalism: a focus on industrialisation and economic growth as state priorities for nation building. Artists and architects also came together to advance varied perspectives towards this new vision.

A comparative survey of three influential art institutions — the Alpha Gallery (Singapore, est. 1971), Cultural Center of the Philippines (Manila, est. 1969), and Bhirasri Institute of Modern Art (Bangkok, est. 1974), Suddenly Turning Visible spotlights artistic practices from the 1970s that actively reinterpreted international art movements such as abstraction, realism and conceptual art while being in dialogue with folk and vernacular traditions of Southeast Asia.

Featuring more than 50 artworks from the period alongside archives, and newly commissioned and restaged artworks, Suddenly Turning Visible tells the lesser-known story of how the vision and ideals of a modern city are reimagined and questioned through art.

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New Introduction to Ceramic― Enjoying Color, Design and Form
Place: Idemitsu Museum of Arts - Tokyo, 9th Floor, Teigeki Bldg., 3-1-1,Marunouchi, Chiyoda-ku, Japan
Date: Nov 23, 2019 to Feb 02, 2020
Detail: Ceramic production in Japan began in the Jōmon period, going back some 16,000 years. Starting from this primitive pottery, Japanese ceramics developed by learning kiln production and glazing techniques introduced from China and Korea, continuing to receive strong influences in design and form. On the other hand, one can see a new stylistic esthetic created within the original Japanese culture, in vessels for tea ceremony, flower arrangement, and festivities in the later periods. The history of Japanese ceramics will be surveyed, hoping to introduce the evolution of the beauty captured in ceramics.


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New Sudo Reiko: Making NUNO Textiles
Place: CHAT and The Hall, The Mills - Tsuen Wan, 45 Pak Tin Par Street, Hong Kong
Date: Nov 24, 2019 to Feb 23, 2020
Detail: CHAT (Centre for Heritage, Arts and Textile) is delighted to announce the upcoming solo exhibition by Sudo Reiko, the internationally acclaimed textile designer from Japan. Running from 24 November 2019 through to 23 February 2020, the exhibition will present the creative process behind Sudo Reiko’s nuno (textiles/fabrics) through her drawings and sketches, raw materials and design prototypes, as well as video and immersive sound and visual installations.


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New Glistening Treasures in the Dust – Ancient Artefacts of Afghanistan
Place: Hong Kong Museum of History - Kowloon, 100 Chatham Road South, Tsim Sha Tsui, Hong Kong
Date: Dec 14, 2019 to Feb 10, 2020
Detail: Through the display of 231 items/sets of rare artefacts including goldware, glassware, bronze sculptures and ivory carvings, unearthed from the four famous archaeological sites of Tepe Fullol, Aï Khanum, Tillya Tepe (Hill of gold) and Begram, now in the collection of the National Museum of Afghanistan, this exhibition demonstrates the profound influence of foreign ancient cultures such as Greek, Indian and Roman on Afghanistan and its surrounding regions from the Bronze Age to the first century AD, as well as a cultural diversity embracing the features of different Steppe cultures. These artefacts also attest to the role played by ancient Afghanistan as the cultural crossroads of the Silk Road, which subsequently promoted the exchange and integration of world civilisations.

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Fairs
USA & Canada Europe & Africa | Asia

New The Winter Show
Place: New York - New York, 67th Street and Park Avenue, New York, USA
Date: Jan 24, 2020 to Feb 02, 2020
Detail: The Winter Show is the leading art, antiques, and design fair in America, featuring 70 of the world’s top experts in the fine and decorative arts from ancient times to the present day. The Winter Show is an annual benefit for East Side House Settlement, a community-based organization serving the Bronx and Northern Manhattan. The Winter Show maintains the highest standards of quality in the art market, and each object is vetted for authenticity, date, and condition by a committee of 150 experts from the United States and Europe.

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New India Art Festival
Place: Nehru Centre - Mumbai, India
Date: Jan 09, 2020 to Nov 29, 2020
Detail: India Art Festival, a contemporary art fair founded in 2011 is a new model for dialogue and collaborations between art galleries, art dealers, art buyers, artists, interior designer, architects and art connoisseurs who come together every year under roof. India Art Festival (IAF) along with mid-level and major art galleries also provides the opportunity to emerging, independent artists to get discovered and enjoy the attention along with the established artists.

Mumbai Edition
09 to 12 January 2020
Nehru Centre, Mumbai

Bengaluru Edition
24 to 26 April 2020
CKP Art Complex Bengaluru

New Delhi Edition
26 to 29 November 2020
Thyagaraj Stadium, New Delhi

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Exhibition Private
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New Fondazione Prada Presents “Storytelling”, an Exhibition by Liu Ye
Place: Fondazione Prada Milan - Nord Gallery - Milano, Italy
Date: Jan 30, 2020 to Sep 28, 2020
Detail: Fondazione Prada presents “Storytelling”, a solo show by Chinese painter Liu Ye curated by Udo Kittelmann. On view from 30 January to 28 September 2020 (press preview on 29 January), it will take place in Nord gallery at Fondazione Prada’s Milan venue. Following the first iteration held in 2018 at Prada Rong Zhai in Shanghai, the exhibition travels to Milan for a new presentation, featuring a selection of 35 paintings realized from 1992 onwards.

In Shanghai Liu Ye's works related harmoniously with the 1918 historical residence’s original furnishings, decorations and colours, creating a symbiotic relationship with the intimate spaces and small rooms of Prada Rong Zhai. In Milan the paintings will generate a chromatic and material contrast with the concrete walls and the industrial environment of Fondazione Prada’s venue, in order to activate a new narrative sequence and an enigmatic contrast with these large exhibition spaces. The geographical dislocation will contribute to focus on the ability of Liu Ye to create a personal pictorial universe, which does not align with any particular artistic movement.

Liu Ye expresses an intimate and sensual imagination, that feeds on heterogeneous sources related to literature, history of art and popular culture from the Western and Eastern world, giving rise to atmospheres which evoke introspection, purity and suspension. In the artist’s body of works the stylistic features of fairy-tales coexist with a sense of humor and a parodic vein. Referring to his own artistic production, Liu Ye underlined that “every work is my self portrait”.

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