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10NEHUNDREDYEARSAGOin1913thenotedcollectorCharlesLangFreermadegitsotherstAsianartworkstoenterthecollectionotheSmithCollegeMuseumoArtSCMA.ThispublicationandtheexhibitionitaccompaniescommemoratesthiscentennialanniversarybyhighlightingtheMuseumsholdingsinAsianartandexaminingtheinstitutionshistoryocollectinginthisarea.ItalsoannouncesSCMAsrenewedcommitmenttodevelopingitscollectionoAsianartrecognizingSmithCollegesincreasinglyinternationalscopeanditsgrowingstrengthinAsianstudies.ThecollectionoAsianartthathastakenshapeoverthepastcenturyrefectstheevolvingaspirationsorSmithsmuseumaswellastheengagementotheCollegeanditsalumnaeandriendswithAsiasdiversecountriesandtheirrichculturesandhistory.BuiltlargelythroughgitsitisinmanywaysacollectionocollectionstellingthestoriesothepassionandexperienceonumerouscollectorsandtheircommitmenttoprovidingSmithstudentswiththeopportunitytostudyandlearndirectlyromoriginalworksoart.FreersgitscameataormativemomentinthedevelopmentoSCMA.TheambitiontocreateanartcollectiontosupportthestudyoboththehistoryandpracticeoartwasrootedintheoundingvisionorSmithCollegeandwasactivelypursuedromitsopeninginthe1870s.ProessorandpainterDwightTryonplayedadeningroleinthedevelopmentothecollectionduringhisthirtysevenyeartenurewhichbeganin1886.EarlycollectingocusedoncontemporaryAmericanartistswithTryonguidingtheacquisitionoworksbyThomasWilmerDewingAbbottHandersonThayerandJamesMcNeillWhistleramongothersbutitalsorefectedcontemporaryaestheticinfuencesnotablythepervasiveinterestinorientalartamongartistsdesignersandcollectorsinthelatenineteenthandearlytwentiethcenturies.1TryonsriendandpatronCharlesLangFreerprovidedtheopportunityorOINTRODUCTIONACenuryofColecigArtofAsiaJESSICANICOLL 11SmithstudentstostudyEastAsianartinitiallythroughtheloanoartworkorexhibitionandultimatelythroughaseriesogitsdesignedtoestablishapermanentAsianstudycollection.FreeralsointroducedtheCollegetoaninternationalcommunityoscholarsinAsianartwhobroughttheirexpertisetocampusaslecturersandadvisorsonsuchearlyacquisitionsasachoicegroupoukiyo-eprintscat.no.18placingSmithinthevanguardoinstitutionsactivelystudyingandcollectingtheartoAsiaattheturnothetwentiethcentury.ThisoundationalhistoryisexploredingreaterdepthinDr.FanZhangsessayinthiscatalogueVisionBeyondBordersTheLegacyoDwightTryonandCharlesFreer.By1913SmithCollegewasrobustlyestablishedhavinggrownexponentiallysinceitopeneditsdoorsin1875withourteenstudentsandaacultyosix.In191516Smithrecordedanenrollmento1724studentsand163acultymembersanditwasaninternationallyvisibleandengagedinstitution.2ThatyearitembarkeduponaprogressivepartnershiptosupportthedevelopmentoGinlingCollegeorwomennewlyoundedinNanjingChinacat.no.34.OverthenextourdecadesSmithanditsAlumnaeAssociationnurturedthissisterinstitutionwhichhadbeenconceivedonthemodeloAmericanliberalartswomenscollegesg.1.RepresentativesromSmithwereregularlyappointedtoGinlingsboardotrusteesvisitingproessorsspentsabbaticalyearsteachinginChinaandSmithraisedandcontributeduptoonequarteroGinlingsoperatingbudget.3AnexpressionoSmithCollegescommitmenttoservicethispartnershipalsobroughttheworldtotheNorthamptoncampusintheormovisitorsromGinlingmostnotablywhenFIG.1.GinlingCollegeWeekexhibitatSmithCollegeMarch1949.FromlettorightRoseSunclasso1949ChiatingChangclasso1948andMaryElizabethOckendenclasso1950areshownexaminingmaterialsinthedisplay.SmithCollegeArchivesSmithCollege.PhotographbytheSmithCollegeNewsOfce. 12ACENTuRyOFCOLLECTINGARTOFASIADr.WyiangagradateoGinlingwhobecamepresidentothatcollegein1928traveledtoSmithin1943toreceiveanhonorardegree.4TheexchangebetweencampsesisreectedinSCMAscollectionbaChinesepaintingaterthestleoMayanandagropoancientChinesecoins5gitsromGinlingCollegethatcamein1922asexpressionsoappreciationtoitsAmericansponsor.TheearltwentiethcentralsosawthematrationotheCollegesartprogramandthevisionoritsartcollection.Intheallo1906AlredVanceChrchillwholledanewacltpositionresponsibleorteachingthehistorandinterpretationoartjoinedDwightTrontheheadotheartdepartment.ChrchillplaedanimportantroleinthedevelopmentotheartcollectionbeginningtomoveitawaromitsdominantocsonAmericanart.In1919hewasappointeddirectorotheCollegesHillerArtGallerwhichwoldofciallbecometheSmithCollegeMsemoArtin1926andtheollowingearthetrsteesaskedhimtoormalizeaplanorthedevelopmentothecollection.InresponseheathoredOrConcentrationPlanwhichprioritizedbildingdepthinmodernartthennderstoodasartromthetimeotheFrenchRevoltiontothepresentwhilealsoremainingopentoopportnitiestoacqirerepresentativeartworksromthroghotthehistoroart.ChrchillsplanwhichaspiredtotheacqisitionoworksbartistsromDavidtoCzannegidedtheormationothecollectionthatdistingishesSCMAtodawithitsstrengthinnineteenthandtwentiethcentrWesternEropeanandAmericanart.AsCharlesChethamSCMAdirectorrom1962to1988explainedtoacollectorinthe1920stheSmithCollegeMsemoArtdecidedtoconcentrateonthecollectingoWesternEropeanart....TheearliestdirectorschosenottocollectOrientalart.ThedidnotregarditasineriorbttheeltthatmoderncltrewasdirectllinkedwiththatoWesternEropeandarlessdirectllinkedtothatotheEast.OntheotherhandtherewasnopolicoexcldingworksoartromtheOrient.Thesimpleactisthatthewereneverprchased.6IndeedthesecondqarterothetwentiethcentrwasmarkedbthegrowthothecollectionalongthepathenvisionedinChrchillsconcentrationplanandndertheleadershiprom1932to1946oJereAbbott.IneachohisorteenearsasdirectorAbbottdeploedanacqisitionndestablishedinthelatenineteenthcentrtomakestrategicprchases.HesstematicallbiltthescopeandqalitothecollectionacqiringschiconicworksasMonetsTheSeineatBougivalPicassosTableGuitarandBottleSerats 13WomanwithaMonkeySheelersRollingPowerndmnothers.WhenhecollectedrtootherculturesAottschoicesrefectedtheestheticinterestsomodernistrtistssuchstheexquisiteLuceremonilxeththepurchsedinPrisin1939ndpreColuminhachacquiredin1934.7AsinrtwslrgelsentromAottsprogrmwiththeexceptionomodestnumerogitsromlumne.ThisegntochngeundertheledershipoEdgrSchenckwhocmetoSmithin1947romtheHonoluluAcdemoArtswherehehdeendirectorortwelveers.APrincetontrinedrthistorinSchencksexpertisewsinOrientlndPolnesinrtsndwesternpintingintereststhtinormedhiscontriutiontoSCMAduringhisrietenure.Schenckletin1949tossumethedirectorshipotheAlrightKnoxArtGller.8HismjorcquisitionortheMuseumwsyundnstpintingDepartureofLadyWenjifromtheNomadCampct.no.8workwithsignicntprovenncehvingcomeromtheimportntcollectionoChinesepintingsormedMr.ndMrs.G.DelDrgooNewyork.SchencklsonurturedgitstothecollectionnotlgrouponineChineseworksgivenin1947WillimS.T.ChngthtincludedlovelnpintingSolitaryMonasteryinMountainsyoZhengongct.no.11.InthedecdesollowingWorldWrIISCMAscollectionegntogrowmorerpidlsustntillthroughgits.WhilegitshdlongplednimportntroleinthecollectionsdevelopmentinthemidtwentiethcenturtheproportionocquisitionsmdedontionversuspurchseshiteddrmticllsseriesoprivtecollectionscmetoSCMAexpndingnddeepeningtheMuseumsholdings.SomeothesecontriutionsuiltupontheoundtionslidChurchillndAottorexmplegitsmdeetween1950nd1968sistersAdelineFlintWingclsso1898ndCrolineRoertWingclsso1896omorethn250AmericnndEuropenworksortorthegitsmdeetween1969nd1983SelmErvingclsso1927o757superImpressionistndPostImpressionistworksonpper.OtherdontionsnotlcollectionsoChineseJpnesendIndinrtdiversiedtherngeoSCMAsholdingsestlishingnewresostrengthinAsinrt.TherstothesewsMr.ndMrs.IvnB.Hrtsgitsin195962ocollectionotthreerchicChinesejdesprimrildtingtotheShngndZhoudnstiesincludingtheBladeHornedOwlndBird-shapedPendanteturedinthisctloguect.nos.12and2b.ThismrkedturningpointintheMuseumscollectinginnumerows.NotonlweretheseSCMAsrst 14ACENTuRyOFCOLLECTINGARTOFASIAsignicantacqisitionsoancientChineseartthecameasanintactcollectioncontribtedbdonorswithnopriorconnectiontoSmithCollege.DirectorRobertParkswasintrodcedtoMr.andMrs.Hartin1958bErnestGottliebamemberoSCMAsnewlormedVisitingCommitteeanadvisorbodormedaspartoanoveralleforttoproessionalizetheMsemspoliciesgovernanceandoperations.9ParksondmchtoadmireintheHartscollectionincldingDelttinglazedceramicsandanIndianbronzesclptrebthesethissightsonthecollectionoarchaicjadesthattheHartshadrecentlacqired.10IvanB.HartwasaDtchwoolmerchantwhohadimmigratedtotheunitedStatesin1940withhiswieJennMartheRoselaarandtheirchildren.OriginallbasedinBostonandthenNewyorkheprospereddringthewarbecaseothedemandorwool.HeandhiswiewereavidcollectorsoawiderangeomaterialincldingclockssilverantiqernitreDtchpaintingsandsnfboxes.11Thewerephilanthropicallinclinedcontribtingworksparticlarltoacademicmsems.TheHartsacqiredtheChinesejadesin1956ponthedeathoSamelMinkenhowhohadormedthecollection.LikeHartMinkenhowasaDtchbsinessmanwhohadletAmsterdamin1939settlinginNewyork.HisbsinessintheimportandexportotextilestookhimtoChinaandSothAsiaandwhilehecollectedEropeanarthisinterestgradalltrnedtoAsianprimarilChineseartwhichhebegancollectingin1931.12InretirementMinkenhodevotedhimseltoresearchingandbildinghiscollectionoChinesejadesandbronzes.TheHartsacqisitionothejadesseemstohavebeenmotivatedbthedesiretopreserveMinkenhoscollectionandwiththeintentodonatingittoamsem.ThelentthecollectiontotheMetropolitanMsemoArtandthenin1960ormalizedtheircommitmenttogivingitinitsentirettotheSmithCollegeMsemoArt.EightearslaterDianeSchareldIsaacsamemberotheclasso1961whohadbeenastdentatthetimeotheHartsgitbroadenedSCMAsholdingswithagitonearlortMingandQingdnastjades.TherenewedinterestincollectingAsianartevidencedbRobertParksprsitotheHartcollectioncorrespondedwiththeintrodctionoAsianstdiestoSmithscrriclm.CharlesWhitmanMacSherrhadjoinedthehistordepartmentasanassistantproessorin195253teachingaearlongintrodctiontoFarEasterncivilization.In195657hebeganteachingtwonewcorsesortheartdepartmentOrientalArtTheArtoChinaandOrientalArtTheArtoJapan. 15Theollowingyerhewspromotedtossociteproessorinthedeprtmentsohistoryndrtndhisrthistorycoursesbecmepermnentofering.13TheMuseumrecognizedthisinthello1957withspecilexhibitionoChineseobjectslentbyPulineBerwldFlkclsso1932includinggroupoShngndZhoudynstybronzes.ProessorMcSherrybecmeclosecollbortorwiththeMuseumhelpingtonurturedevelopmentothecollectionnditsuseorstudyndtechingg.2.Othersignicntgitssoonollowed.In1965MjorndMrs.OliverJ.TodddontedortyoneChinesebronzestoSCMAct.no.3agitththonoredtheirdughterSmithlumnDorisToddBrownclsso1949.Thecouplehdmetinthe1920sinChinwhereMjorToddwsworkingsnengineerortheAmericnRedCrossndtheInterntionlFmineRelieCommissionndhisuturewiewsmediclmissionry.TheycontinuedlivingndworkinginChinuntilthelte1930sndduringthttimebuilttheircollectionoChinesebronzeswithMjorToddpublishingbookontheircollectionobronzemirrorsin1935.14SeventeenmirrorsormedthecoreotheirdontionwhichimportntlyexpndednddiversiedSCMAsChineseholdings.FIG.2.ProessorChrlesW.McSherryshowingChinesescrollSC192221gitromGinlingCollegetoEvW.Nirclsso1928.SmithCollegeArchivesSmithCollege. 16ACENTuRyOFCOLLECTINGARTOFASIATwoearslaterthecollectionwasrtherdeepenedbatransormationalgitomorethan500Japaneseprintsandobjectsincldingnetsukeinroandtsuba.ThiscameromMargaretRankinBarkerclasso1908inmemoroheratherIsaacOgdenRankin18521936whohadormedthecollectioninthelatenineteenthandearltwentiethcentries.RankinwasacongregationalministerandeditorotheCongregationalistwhowasalsoadedicatedstdentandearlcollectoroJapaneseart.15BasedinNewEnglandheactivelollowedexhibitionsandsalesoJapaneseartinNewyorkandBostonandenjoedthehelpohisdaghterMargaretaterhergradationromSmith.Hergitlflledhisaspirationthatthecollectionwoldbekepttogetherandwoldtakepanexistenceinsomeedcationalinstittion.16Itincldedsome400ukiyo-eprintsenormoslexpandingthenclesoprintsinthisgenrethatSCMAhadfrstacqiredin1915.ParticlarlstronginitsrepresentationotheworkoHiroshigeandHoksaitheBarkerRankincollectionincldesarareearlimpressionoHoksaisClearWeatherSouthernBreezealsoknownasPinkFujicat.no.20theonlntrimmedfrststateothisprintheldinthecollectionoanAmericanmsem.InacceptingtheBarkerRankincollectionorSmithCollegePresidentThomasMendenhallacknowledgeditstimelinessinlightotheMsemsgrowinginterestinbildingitscollectionoAsianart.In1967planswereaoottocreateanewintegratedfneartscenterthatwoldincldeexpandedacilitiesortheartmsemasSCMAscollectionandexhibitionprogramhadotgrowntheTronGallerthathadhosedtheMsemsince1926.MendenhallreportedtheaspirationsharedbDirectorCharlesChethamandProessorCharlesMacSherrthatthenewspacewoldalloworthedisplaoAsianartnotingthattheBarkerRankincollectionwoldprovideswithamagnifcentcoreorthisnewventre.17ChethamandMacSherrhadtheopportnittoactrtheronthatvisionwhenJohnKennethGalbraithandhiswieCatherineAtwaterGalbraithclasso1934approachedtheCollegeabotagitoIndianpaintingsin1975.AmonghismanaccomplishmentsGalbraithwasadevotedstdentandcollectoroRajptandMghalpaintingeversinceallinginlovewithIndianpaintingwhilevisitingIndiain1956andspecifcalltheBharatKalaBhavanmsem.18ServiceastheunitedStatesambassadortoIndiarom1961to1963gaveGalbraiththeopportnittodeepenthisinterestieldingnotonlachoicecollectionotheseintimateandevocativepaintingsbtalsoascholarlstdIndianPaintingTheSceneThemesandLegendswrittenwithhisriendMohinderSinghRandhawa.19RetrningtoHarvarduniversitin1963theGalbraithssharedtheircollectionina1965exhibitionGodsThronesandPeacocksandintheearl1970sgavea 17sbstantialpartoittoHarvardsFoggMsemoArt.20CratorandscholarStartCaryWelchdrewapoeticconnectionbetweentheseexqisitepaintingsandtheircollectorsnotingthatKenandKittyGalbraithwerepeoplewhonotonlyappreciatedthenancesocolorlineormanddepthoeelingorcharacterizationseeninthepictresbtwhoseliveshavebeenimbedwiththebeatyotheirpictres.21ThegropopaintingssbseqentlyoferedtoSmithdplicatedworksgiventotheFoggorwerecollectedaterthatgitwasmade.AttractedbytheideaohavingthebalanceothecollectionpreservedatasisteracademicmsemGalbraithapproachedSCMAnotinghiswiesgreatafectionorSmithaswellasthecriticJohnRssellsrecentpraiseortheMseminTheNewYorkTimes.22InexpressingappreciationortheGalbraithsoferChethamobservedthatthegitwoldbildonsomerecentmajorgitsoorientalartandthatarrombeinginappropriatetoawesterncollectionitwoldcreateanewareaordevelopmentbyprovidingthelinkbetweenartotheeastandwestrecognizingthepaintingsintegrationoAsianandEropeanpictorialtechniqes.23ultimatelySCMAreceivedthirtyorpaintingsin198182withanadditionalsixpaintingsandtwoTibetantangkascomingasabeqestromJohnKennethGalbraithin2007incldingtheconspiratorialMistressandConfdanteSeatedonCarpetinCourtyardcat.no.30.CoincidentwiththisgrowthincollectingwastheexpansionocrriclaroferingsinAsianstdiesandlangages.SmithwasoneotherstliberalartscollegestooferinstrctioninChineselangagebeginningin1965whenHenryLiHaKngjoinedtheacltyandadecadelaterJapaneselangagewasintrodcedbyMtskoMinegishi.24TodayKoreanlangageisalsotaght.In1974CharlesMacSherrywasscceededbyMarylinRhieg.3ascholarwithparticlarexpertiseinBddhistartoCentralAsiawhosstainedcorsesontheartoChinaandJapanwhilealsointrodcingnewcorsesontheartoIndiaTibetKoreaCentralAsiaandBddhistartaswellasasrveyoAsianart.InthissametimeperiodnewmembersotheacltyarrivedwithspecializationindiverseareasoAsianstdiesincldinggovernmenthistoryliteratrephilosophyandreligion.Thisemergingstrengthcoalescedintheearly1980sintheestablishmentotheEastAsianStdiesProgramwhichbringstogetheracltyromdiferentdisciplinestooferaprogramostdyotheregion.25TheestablishmentoamajorandaminorandthecreationoadistinctDepartmentoEastAsianLangagesandLiteratressoonollowed.WiththegrowthanddiversicationoSCMAscollectionMsemstaforgednewconnectionswiththecrriclm.Acatalytic1992grantromtheAndrewW.FIG.3.ProessorMarylinRhie2007. 18ACENTuRyOFCOLLECTINGARTOFASIAMellonFondationsCollegeanduniversitArtMsemProgramallowedSCMAtolanchaprogramthatspportsacltindevelopingcorsessbstantialltaghtromthecollectionandwithintheMsem.ThistransormationalandongoingprogramoMsembasedcorseshasstimlatedgreaterintegrationothecollectionintoteachingandmchbroaderseacrossdisciplines.ForexamplewithintherstewearsacltinthedepartmentsoAmericanstdiesartchemistrdanceEnglishmsicphilosophandtheaterdevelopedcorses.EastAsianStdiesalsotilizedthisnewopportnitorcollaborationwiththeMsemoferingJapaneseAestheticsLandscapesandGardensanearlMsembasedcorsetaghtbProessorTaitetsunnothatdrewonSCMAsukiyo-eprintsanddiverseacltexpertisetostdJapaneseaestheticsandtheirbroadinence.26Whenplanstookshapeinthelate1990soracompleterenovationotheFineArtsCenterincldinganexpansionotheMsemtheMsembasedcorseprograminormedtheredesignospaceswiththeintrodctionoonsiteclassroomsthatallowdirectteachingromoriginalworksoartandthecreationotheWinslowTeachingGalleradedicatedspaceorthedisplaoartbeingsedinclasses.AspartothestrategicplanningndertakenbDirectorSzannahFabing19922005inconjnctionwiththisprojecttheexhibitionandcollectingononWesternartwasarticlatedasanimportantinstittionalprioritinspportoSmithCollegesexpandingandincreasinglinternationalacademicprogram.WithinthisnonWesterninitiativetheocsonAsianarttookonimmediatemomentmthankstothecombinationoextraordinaralmnaespportthedepthandbreadthoexpertiseamongacltpartnersandtheinterestandenthsiasmexpressedbstdents.AdvocacorSCMAsrenewedefortsinthisareahasbeenledbanAsianArtTaskForceanadvisorbododedicatedandknowledgeableSmithalmnaeormedin2001andchairedwithvisionandenergbJoanLeboldCohenclasso1954.ConsltingCratorSamelC.MorseascholaroJapaneseBddhistartandproessorintheDepartmentsoArtandtheHistoroArtandAsianLangagesandCivilizationsatAmherstCollegehasservedasascholarladvisorandgestcratoronmerosexhibitions.TheMsemscratorialexpertisewasrtherexpandedin2010withthearrivaloDr.FanZhangonathreeearappointmentastheFreemanMcPhersonCratorialandTeachingPostDoctoralFellowinEastAsianArtapositionspportedinpartbmembersotheAsianArtTaskForce.BeginningwiththereopeningotherenovatedBrownFineArtsCenterin2003SCMAhasmontedanambitiosrosteroexhibitionsoAsianartincldingTheFloatingWorld2003TheHartCollectionofArchaicChineseJades2004 19TheLegendofHachimanAHandscrolloftheTosaSchool2004ConfrontingTraditionContemporaryArtfromKyoto2004FashioningTraditionJapaneseTeaWaresfromtheSixteenthandSeventeenthCenturies2007AestheticsoftheSacredTheBuddhistArtofTibet20072020VisionContemporaryJapanesePrintsGiveninHonorofHilaryTolman872007Movement2008Post-MaoDreamingContemporaryChineseArt2009andTouchFireContemporaryJapaneseCeramicsbyWomenArtists200910.TworecentexhibitionsTranscendingBoundariesTheArtandLegacyofTangChina2011andPursuingBeautyTheArtofEdoJapan2012werepresentedaspartoaninnovativecollectionsharingpartnershipwiththeyaleuniversitArtGaller.ManotheseexhibitionsintrodcednewacqisitionstotheSmithcommnitandallothemweremetwithactiveinterestandengagementbacltstdentsandtheMsemsbroaderadiencesafrmingthevaleothisocsonAsianart.ProessorThomasRohlichDepartmentoEastAsianLangagesandLiteratresactivelsedtheexhibitionConfrontingTraditionContemporaryArtfromKyotog.4whichwascratedbSamelMorseorhisrstearFIG.4.KatsshigeNakahashiandinstallationvolnteerswithPhantomZerocreatedbtheartistortheexhibitionConfrontingTraditionContemporaryArtfromKyoto2004.PhotographbDerekFowles. 20ACENTuRyOFCOLLECTINGARTOFASIAseminarKotoThroghtheAges.EvenaterthecloseotheexhibitionhecontinedtodrawonitscontentorthiscorsewhichwascomplementedbaJanartriptoKotoandvisitswithseveralotheartistsincldedinConfrontingTradition.SpeakingabottheimpactothisexhibitionProessorRohlichobservestheconnectionsthatcameromtheexhibitionhavebeenmaintainedandstrengthenedeventothisda.27SbseqentlProessorsRohlichandMorsecotaghtTheTeaCeremonandJapaneseCltrewhichintensiveltilizedtheobjectseatredinFashioningTraditionJapaneseTeaWaresfromtheSixteenthandSeventeenthCenturiesfg.5.TheirswasthefrstFiveCollegecorsetaghtontwocampsesSmithandAmherstCollegesanditattractedlivelinterestenrollingstdentsromorothefvecolleges.TheworksinFashioningTraditionwereborrowedprimarilromPeggBlockDanzigerclasso1962andRichardM.Danzigerwhosecollectionisnotedortheqalitraritandhistoricalimportanceoitsteaceremonobjectsfg.6.AttheconclsionotheexhibitiontheDanzigersmadeagitoobjectsincldingworksopaintingandcalligraphascreencat.no.17vasekettlecat.no.27storagecontainerandceramicteabowlthatwoldbeondinaritalteaarrangementortoriawaseprovidingtheondationorcontinedstdotheJapaneseteaceremonatSmith.AtrsteeotheCollegeandondingmemberotheAsianArtTaskForcePeggDanzigertpifestheextraordinarknowledgeleadershipandgenerositFIG.5.ToriawaseinateahosesettingortheexhibitionFashioningTraditionJapaneseTeaWaresfromtheSixteenthandSeventeenthCenturies2007.PhotographbPetegorskGipe. 21embodiedbySmithalumnaewhoaretransformingtheplaceofAsianartwithintheSmithCollegeMuseumofArt.Theircontributionsaretoonumeroustobefullydescribedherebutafewexampleswillsuggestthevarietyoftheirexperienceandthedepthoftheirimpact.WhenSCMAreopenedwithexpandedspacesandaspirationsin2003WanKyunRhaKimclassof1960andherhusbandDr.AndrewByongSooKimsteppedforwardwithgiftsofanimportantgroupofworksrepresentativeofthevisualcultureofpostrevolutionaryChinaincludingTangMulisYoungBuglercat.no.32.Mrs.KimwhowasoneofatinyconstituencyofKoreanstudentsatSmithinthelate1950shasalsohelpedexpandtheMuseumsholdingsincontemporaryKoreanartwiththerecentdonationoftwopaintingsbySukJuLeeandagiftinsupportofthepurchaseofaprintportfoliobyChunwooNamcat.no.53.ThetwentiethcenturyChineseprintsdrawingsandpaintingscontributedbytheKimsarecomplementedbygiftsfromJoanLeboldCohenclassof1954andJeromeA.CohenofmorethanfortyworksdatingtopostMaoChinaFIG.6.ProfessorThomasR.RohlichPeggyBlockDanzigerclassof1962andProfessorSamuelC.MorseintheexhibitiongalleryforFashioningTradition. 22ACENTuRyOFCOLLECTINGARTOFASIAct.nos.3335n41ng.7.TheCohenscollectiongrewromtheirssocitionwithChinesertistsorgeringreqenttrvelsnperiosoresiencinChinsincethe1970s.AsrthistorinJliAnrewshswrittenThebooworkcollectebtheCohensinthoseersswholerefectstherststepstkenbtheChinesertworlsitbegntoovertrnthetotlitrinstnrsththsohrshlsqeezecretiveexpressionintheMoister.28CollectornglleristEthnCohensonoJonnJeromehsexpnetheMsemsholingsocontemporrChinesertwithnmerosgitsinclingnimportntgropoprintspblishengiveninprtnershipwithPceEitionsnRichrnAnnSolomonclsso1959ct.nos.51n52.TheseworksintrngmentgrowingstrengthintherepresenttionoprintmkinginEstAsinrtrebseriesogitsromTheTolmnCollectionTokothemjorelernpblisherocontemporrJpneseprintsinhonoroHilrTolmnclsso1987ct.nos.4748n54.Signicntgitshvecontinetoenterthecollectionsthisexhibitionnctlogereinproction.In2012SCMAreceivenimportntgitothirtnineprintsromMr.nMrs.LcioNotobtheinfentilJpnesertistSekinoJnichirovitlorceintheCretivePrintMovementssakuhangact.no.46.Amemberotheclsso1965hsenoweSCMAwithnextrorinrcollectionocontemporrcermicsbJpnesewomenrtistsct.nos.43ad.ThecollectionormewithSmithinminocmentstherolethtwomenhvepleintrnsormingtheworloJpnesestiocermicswhichwstritionllmleomintesresltotheirccesstoectioninthisFIG.7.InstlltionviewotheexhibitionPost-MaoDreamingContemporaryChineseArt2009.PhotogrphbPetegorskGipe. 23feldtertheSecondWorldWr.ThesegitsndmnymorehveestlishednewndgrowingreostrengthincontemporryEstAsinrttSmithfg.8.TheuturedevelopmentoSCMAsholdingsintrditionlAsinrtislsoeingnurturedythegenerosityocollectors.Annonymousmemerotheclsso1957hspledgedgitogroupoevoctiveTngdynstyfgurinesoMusiciansandMaidsct.no.5whilePtriciMertensBeckwithclsso1968ndStephenR.BeckwithhvemdepromisedgitsothreeelegntSongdynstyteowlstwoowhichreincludedinthisctloguect.nos.6and6b.Dr.ElizethE.ForcehsmdecommitmenttolevetoSCMAherextensivecollectionoEstAsinrtwhichincludessuperlcquerojectssuchstheEdoperiodDocumentBoxct.no.22ndtheWesternHndynstyincenseurnerct.no.4inthisctlogue.FIG.8.InstlltionviewotheexhiitionTouchFireContemporaryJapaneseCeramicsbyWomenArtists200910withworksyKtsumtChiekointheoregroundndscreenyMioMotoko.PhotogrphyPetegorskyGipe. 24ACENTuRyOFCOLLECTINGARTOFASIAStdentshavealsoparticipatedvalablinthedevelopmentoSCMAscollectionoAsianartdemonstratingthedistinctiveimportanceothisareaocollectingtoSmithsgrowingcommnitostdentsandalmnaeoAsianheritage.29In2005SohlLeeclasso2006andothermembersotheKoreanAmericanStdentsoSmithKASSapproachedMsemstafwiththeirproposaltomontacampaignamongstdentsandalmnaetoraisendstoprchaseaworkoartbacontemporarKoreanorKoreanAmericanwomanartist.AsSohlLeeexplainsacorseonmsemsandsocietatAmherstCollegehadintrodcedthestdentstoissesafectingmsemcollectionsexhibitionsandmissionsandhadledthemtoasksomeqestionsabotSCMAanditsplacewithintheCollegeschasCanamsemrespondtoitssociopoliticalenvironmentinaprodctiveratherthanapassivewaHowcantherebeagreaterocsoncontemporarartromAsiaorartabotcontemporarAsiaatSCMACanSCMAscontemporarartcollectionengagecrrentSmithstdentsinwasthatarerelevanttothemCanstdentsacqireanartworkortheMsemspermanentcollectionandtherebafecttheMsemsdnamics30InansweringtheseqestionstheimpressivelresearchedrelevantcontemporarartsrveedtheMsemsandacltsneedsandinterestsandraisedndsresltingintheacqisitionoyongSoonMinsinstallationMovementg.9atangiblemeditationonnotionsoAsianidentitandtheideaoagreatdiasporalAsianwaveinartandcltrecat.no.56.FIG.9.ArtistyongSoonMininstallingMovement2008.PhotographbOneMatchFilms. 25OnehundredyearsaterreceivingtherstgitsoAsianartromCharlesFreertheSmithCollegeMuseumoArtispoisedtoexpanditsAsiancollectionasanimportantpartoitsprogramoscholarshipdisplayandteaching.TheworkocuratorsSamuelMorseandFanZhanghasdeepenedourunderstandingothescopeotheMuseumshistoryocollectinginthisareaandthesignicanceoitsexistingholdings.AgittoestablishtheJaneChaceCarrollclasso1953CuratorshipoAsianArthasensuredthatSCMAwillpermanentlyhavestafexpertisetocontinuetodevelopandutilizeitsAsiancollectionstosupportlearningatSmith.AleadershipgitromPeggyBlockDanzigerisallowingtheMuseumtocreateagallerythatwillbededicatedtothedisplayoAsianart.AswelookorwardtothenextcenturyhistoryencouragesusthatwiththesharedcommitmentotheCollegeanditsMuseumplustheinterestandinvolvementoSmithalumnaeandriendsanexcitingnewchapterincollectingAsianartiswaitingtobewritteng.10.FIG.10.Dr.FanZhangdiscussingtheexhibitionTranscendingBoundariesTheArtandLegacyofTangChina2011withAsianArtTaskForcememberBettyHamadySamsclasso1957letandAATFchairJoanLeboldCohenclasso1954right.PhotographbyDerekFowles. 26ACENTuRyOFCOLLECTINGARTOFASIA1MichaelGoodisonFondingaMsemLarensClarkSeeleDwightWilliamTronandAlredVanceChrchill18701932ImageandWordNorthamptonMASmithCollege2003117.2SmithCollegeHistorenwikipedia.orgwikiSmith_CollegeaccessedJl232012.3EllenWidmerTheSevenSistersinChina19001950inBasandWidmereds.ChinasChristianCollegesCross-CulturalConnections19001950StanordStanorduniversitPress200988.4JliaFranzWyiangSmithCollegeandEarlWomensEdcationinChinahttpwww.smith.eduworldglobal_past-franz.phpaccessedAgst212012.5SC192221andSC192234114respectivel.ThescrollprevioslattribtedtoZhoChenisaQingcopinscribedPaintedaterthestleoMayanQinshansobriqetinanatmndaoRenchenearotheChenghaReign1472.6CharlesChethamtoJohnKennethGalbraithFebrar231976SmithCollegeMsemoArtarchiveshereaterSCMAarchives.7SC193991andSC193591respectivel.8AdelnD.BreeskinEdgarC.Schenck19101959CollegeArtJournal19no.3Spring1960256.9GottliebinvitedParkstojoinhimonavisittotheHartsNewyorkCithomepromisingyowillmeetanicecopleandseeaewnicethings.ErnestGottliebtoRobertO.ParksMa231958SCMAarchives.10InwritingtothankthemorthevisitParksexpressedappreciationortheirwillingnesstocontinetothinkosintermsothetreoorjadeaddingthathewaspermittingmselthelxroimaginingallthedistingishedwasinwhichitcoldbepttosehereandhowitsselnessmightgrowandgrowandgrowtoorndingcredit.RobertO.ParkstoMr.andMrs.IvanB.HartDecember171958SCMAarchives.11EmailromLizHarttoLindaMehligSCMAseniorcratorandcratoropaintingandsclptreJl252012.12MinkenhoinitiallsoghttheadviceoH.F.E.VisserattheStedelijkMsem.HelaterstdiedattheInstitteoFineArtsatNewyorkuniversitwithAlredSalmonarenownedscholaroAsianartwithparticlarexpertiseinChinesejades.AlredSalmonInMemoriamSamelHbertMinkenho18791956ArtibusAsiae20no.1195772.ElizabethLonsS.H.Minkenho18791956ArchivesoftheChineseArtSocietyofAmericavol.10195667.13MarlinM.RhieAsianArtatSmithCollegeImageandWord79.RhiedatesMacSherrsarrivalto195354btTheSmithCollegeBulletin195253conrmsthathejoinedtheacltthatearasanassistantproessorinthehistordepartmentSmithCollegeArchives.14OliverJlianToddChineseBronzeMirrorsChinaSanyPress1935.15IsaacOgdenRankin18521936www.hymntime.comtchbioranrankin_io.htmaccessedJl162012.16J.M.BarkertoThomasMendenhallpresidentSmithCollegeNovember71967SCMAarchives.17ThomasMendenhalltoJ.M.BarkerDecember81967SCMAarchives.18JohnKennethGalbraithAViewfromtheStandsOfPeoplePoliticsMilitaryPowerandtheArtsBostonHoghtonMifin1986157.19JohnKennethGalbraithandMohinderSinghRandhawaIndianPaintingTheSceneThemesandLegendsBostonHoghtonMifin1968.ENDNOTES 2720GodsThronesandPeacockswasshownattheAsiaHoseGallerinNewyorkCittheBaltimoreMsemoArtMnsonWilliamsProctorInstitteouticaNewyorkandtheFoggMsemoArtatHarvarduniversit.StartCarWelchBigManLittlePictresinBetweenFriendsPerspectivesonJohnKennethGalbraithNewyorkHoghtonMifin199969.21WelchBetweenFriends68.22JohnKennethGalbraithtoElizabethMonganDecember261975SCMAarchives.23CharlesChethamtoJohnKennethGalbraithFebrar231976SCMAarchives.24HenrLiHaKngwasanassistantproessoroChineseStdiesatSmithCollege196588MtskoMinegishiwasaninstrctorinJapaneselangage197482.SmithCollegeArchives.25RhieImageandWord.26Religion277aColloqimJapaneseAestheticsLandscapeandGardenswastaghtbTaitetsunnoproessoroworldreligionsin199798.27EmailromProessorThomasRohlichtoJessicaNicollSeptember82012.28JliaF.AndrewsArtistsoChinasReormEra1979intotheMillennimPost-MaoDreamingChineseContemporaryArtNorthamptonMASmithCollegeMsemoArt20092.29In201112therewere281internationalndergradatestdentsnonresidentaliensaccontingor10.9otheSmithCollegestdentbodincldingstdentsromtheollowingAsiancontriesthenmberostdentsisindicatedinparenthesesAghanistan1Bangladesh7India20Japan5Krgzstan1Mongolia2Manmar2Nepal6Pakistan8PeoplesRepblicoChina107RepblicoKorea53RepblicoSingapore12SriLanka3Taiwan5Thailand3andVietnam6.These239Asianndergradatescomprisedmorethanthreeorthsotheentireinternationalstdentbod.ThesestatisticsdonotreectthesignicantnmberostdentsoAsianAmericanheritage.StatisticsprovidedbtheSmithCollegeOceoInstittionalResearchandtheSmithCollege201213CourseCatalogue27.30SohlLeeTowardMovementConversationCollaborationandCoprodctionMovementNorthamptonMASmithCollegeMsemoArt20082.