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collecting collecting collectingSMITHCOLLEGEMUSEUMOFARTNORTHAMPTONMASSACHUSETTSHigigtsofthAsiaColectionofthSmitColegeMuseumofArt PREFACEANDACKNOWLEDGMENTSJESSICANICOLLINTRODUCTIONACenuryofColeciArtofAsiJESSICANICOLLVISIONBEYONDBORDERSThLegyofDwitTryoCesFreerFANZHANGCATALOGUECHINAJADEBRONZECERAMICSPAINTINGJAPANPAINTINGPRINTSLACQUERTEXTILESMETALWORKSOUTHASIAANDTHEHIMALAYASBUDDHISTARTPAINTING1950TO2013PAINTINGANDDRAWINGSCULPTUREPRINTSINSTALLATIONPHOTOGRAPHSVIDEOINDEXOFARTISTS610284874106116174TaeofConens 6PrefaeAckowledgmnsTHEEXHIBITIONCollectingArtofAsiaspringsemester2013andthiscatalogueothehighlightsotheMuseumscollectionoAsianartgrewoutoanideaproposedbyDr.FanZhangwhoisservingathree-yearappointmentatSmithCollegeastheFreemanMcPhersonCuratorialandTeachingPost-DoctoralFellowinEastAsianArt.InresearchingtheMuseumsholdingsinAsianarthebecameintriguedwiththerelationshipothepreeminentcollectorCharlesLangFreerandSmithCollegeproessorandpainterDwightWilliamTryonwhotogetherwereresponsibleortheearlyhistoryocollectinganddisplayingAsianartattheCollege.Hisinvestigationrevealedthatwewereapproachinganimportantanniversaryin2013thecentennialotherstworksoAsianarttoentertheMuseumscollectionwhichcameasgitsromFreer.AtrsthisproposaltomarkthisoccasionwastomountasmallshowoFreersgitsandtowriteashortarticledescribinghowthetworiendsworkedtogethertodevelopafedglingAsiancollection.FurtherdiscussionswithMuseumcolleagueseventuallyresultedintheexpansionotheprojectintoaull-scaleexhibitionincludingover120worksromtheMuseumsAsianholdingsandpromisedgitsaswellasthispublicationeaturingaselectionohighlightscataloguedin59entries.Dr.ZhangsessayVisionBeyondBordersTheLegacyoDwightTryonandCharlesFreerwhichexplorestheoundationalmomentsocollectingAsianartattheCollegelogicallybegsthequestionowhatcameater.OurMuseumisinternationallyrecognizedoritsholdingsinnineteenth-andearlytwentieth-centuryEuropeanandAmericanartbutwedonothavethesamecontinuityostrengthorcollectinginourAsianholdings.TheMuseumsvariouspublishedhistoriesconcentrateonthedevelopmentoitsWesterncollectionsandtheimportanceoDwightTryonsroleinadvisingonacquisitionsparticularlyoAmericanartbuttherehavebeennocomparablenarrativestracingthecollectingoAsianarthere.MyintroductionACenturyoCollectingAsianArtseekstoaddressinotcompletelyllthatvoidbyprovidingatimelineoAsianacquisitionsandlistingimportantdonorsmanybutnotallothemSmithalumnae.AsIpiecedtogetherthestoryitbecameobviousthatcollectingAsianartollowedteachingtrendsattheCollege.AstheacquisitionanddisplayoAsianartacceleratedgreatlyinthelastdozenyearsledbyormerdirectorSuzannahFabingandspurredbyhighlyimportantgitsandincreasedprogrammaticactivityandexhibitionsthisagainrefectedthemoreglobal 7reachotheCollegescurriculumandthegrowingemphasisonEastAsianStudiesinparticular.ThestoryobviouslyisstillbeingwrittenastheexhibitionandthispublicationcelebrateAsianartspastandpresentattheMuseumwiththeuturerepresentedbypromisedgitsandplansoradedicatedcuratorialpositionorandgalleryoAsianart.ThecatalogueportionothispublicationisorganizedinoursectionsthreecomprisingtraditionalorhistoricartincludingChinaJapanandSouthAsiaandtheHimalayasandaourthsectionconsistingoartrom1950tothepresent.Withinthosemaincategoriesobjectsaregroupedrstbymediumandtheninchronologicalorder.TheollowingwritersinadditiontoDr.ZhangcontributedinsightulentriesonthehighlightsoourAsianholdingsAprileGallantCuratoroPrintsDrawingsandPhotographsSmithCollegeMuseumoArtSamuelC.MorseHowardM.andMarthaP.MitchellProessorotheHistoryoArtandAsianLanguagesandCivilizationsAmherstCollegeandConsultingCuratororAsianArtSmithCollegeMuseumoArtLindaMuehligCuratoroPaintingandSculptureAssociateDirectororCuratorialAfairsSmithCollegeMuseumoArtMarylinRhieJessieWellsPostProessoroArtandProessoroEastAsianStudiesSmithCollegeThomasR.RohlichProessorEastAsianLanguagesandLiteraturesSmithCollegeandAjayJ.SinhaProessoroArtHistoryMountHolyokeCollege.TherearemanyindividualstothankandacknowledgedonorsadvisorsandotherswhocannotallbelistedinthispreacebutwhosenamesaretobeoundinmyintroductionDr.Zhangsessayandthecreditlinesorhighlightedworks.ArtistYongSoonMinisthankedorreturningtocampustoinstallhersite-specicinstallationMovementcat.no.56acquiredortheMuseumthroughtheefortsotheKoreanAmericanStudentsoSmithKASS.ThemembersotheMuseumstafintheirvariouscapacitiesdidyeomansworkontheexhibitionandpublication.TherewerethreecuratorsotheexhibitionDr.ZhangwhoorganizedtheinstallationotraditionalandhistoricartinDalrympleGallerylowerlevelAprileGallantwhowasresponsibleortheinstallationopost-warandcontemporaryprintsinSacerdoteGallerymainoorandLindaMuehligwhoorganizedtheinstallationocontemporaryworksinTarganGallerylowerlevelandvideosinKetchamGallerythirdoor.ThischallenginginstallationwasmanagedbyExhibitionCoordinatorKellyHolbertandachievedbyAssociate 8DirectororMuseumServicesDavidDempseyChiePreparatorWilliamMyersandInstallationAssistantStephanieSullivanwiththehelpoCollectionManagerRegistrarLouiseLaplante.AssociateDirectororAcademicProgramsandPublicEducationAnnMusseralongwithhercolleaguesAssociateEducatororAcademicProgramsMaggieLindandProgramPlannerTaigaErmansonsarrangedorprogrammingandoutreach.LindaMuehligeditedthecataloguewhichwasbeautiullydesignedbyCarolynEckert.FinallywegrateullyacknowledgethegeneroussupportotheLouisaStudeSarofm1995CharitableTrustandTheBrownFoundationInc.oHoustonboththroughtheinitiativeoLouisaStudeSarofm58andtheGeneralAsianArtFund.AdditionalsupportoreducationalprogrammingassociatedwithCollectingArtofAsiawasprovidedbytheCarlynSteiner67andGeorgeSteinerEndowedFundinhonoroJoanKochSmith.JESSICANICOLLDirectorandLouiseInesDoyle34ChieCuratorSeptember262012Cat.no.54.HasegawaYuichi.BornJapan1945.SkyofHopeSparkletotheFutureromtheportolioHopeAspirationsintheAbstract2012.Woodblockprintedinmetallicgoldandsilverandmultiplecolorsonbrightwhitemoderatelythickroughpaper.GitotheTolmanCollectionTokyoinHonoroHilaryTolmans25thReunionclasso1987.SC201216-1 10NEHUNDREDYEARSAGOin1913thenotedcollectorCharlesLangFreermadegitsotherstAsianartworkstoenterthecollectionotheSmithCollegeMuseumoArtSCMA.ThispublicationandtheexhibitionitaccompaniescommemoratesthiscentennialanniversarybyhighlightingtheMuseumsholdingsinAsianartandexaminingtheinsti-tutionshistoryocollectinginthisarea.ItalsoannouncesSCMAsrenewedcommitmenttodevelopingitscollectionoAsianartrecognizingSmithCollegesincreasinglyinternationalscopeanditsgrowingstrengthinAsianstudies.ThecollectionoAsianartthathastakenshapeoverthepastcenturyrefectstheevolvingaspirationsorSmithsmuseumaswellastheengagementotheCollegeanditsalumnaeandriendswithAsiasdiversecountriesandtheirrichculturesandhistory.BuiltlargelythroughgitsitisinmanywaysacollectionocollectionstellingthestoriesothepassionandexperienceonumerouscollectorsandtheircommitmenttoprovidingSmithstudentswiththeopportunitytostudyandlearndirectlyromoriginalworksoart.FreersgitscameataormativemomentinthedevelopmentoSCMA.TheambitiontocreateanartcollectiontosupportthestudyoboththehistoryandpracticeoartwasrootedintheoundingvisionorSmithCollegeandwasactivelypursuedromitsopeninginthe1870s.ProessorandpainterDwightTryonplayedadeningroleinthedevelopmentothecollectionduringhisthirty-seven-yeartenurewhichbeganin1886.EarlycollectingocusedoncontemporaryAmericanartistswithTryonguidingtheacquisitionoworksbyThomasWilmerDewingAbbottHandersonThayerandJamesMcNeillWhistleramongothersbutitalsorefectedcontemporaryaestheticinfuencesnotablythepervasiveinterestinorientalartamongartistsdesignersandcollectorsinthelatenineteenthandearlytwentiethcenturies.1TryonsriendandpatronCharlesLangFreerprovidedtheopportunityorOINTRODUCTIONACenuryofColecigArtofAsiaJESSICANICOLL 11SmithstudentstostudyEastAsianartinitiallythroughtheloanoartworkorexhibitionandultimatelythroughaseriesogitsdesignedtoestablishapermanentAsianstudycollection.FreeralsointroducedtheCollegetoaninternationalcom-munityoscholarsinAsianartwhobroughttheirexpertisetocampusaslecturersandadvisorsonsuchearlyacquisitionsasachoicegroupoukiyo-eprintscat.no.18placingSmithinthevanguardoinstitutionsactivelystudyingandcollectingtheartoAsiaattheturnothetwentiethcentury.ThisoundationalhistoryisexploredingreaterdepthinDr.FanZhangsessayinthiscatalogueVisionBeyondBordersTheLegacyoDwightTryonandCharlesFreer.By1913SmithCollegewasrobustlyestablishedhavinggrownexponentiallysinceitopeneditsdoorsin1875withourteenstudentsandaacultyosix.In191516Smithrecordedanenrollmento1724studentsand163acultymembersanditwasaninternationallyvisibleandengagedinstitution.2ThatyearitembarkeduponaprogressivepartnershiptosupportthedevelopmentoGinlingCollegeorwomennewlyoundedinNanjingChinacat.no.34.OverthenextourdecadesSmithanditsAlumnaeAssociationnurturedthissisterinstitutionwhichhadbeenconceivedonthemodeloAmericanliberalartswomenscollegesg.1.RepresentativesromSmithwereregularlyappointedtoGinlingsboardotrusteesvisitingproessorsspentsabbaticalyearsteachinginChinaandSmithraisedandcontributeduptoone-quarteroGinlingsoperatingbudget.3AnexpressionoSmithCollegescommitmenttoservicethispartnershipalsobroughttheworldtotheNorthamptoncampusintheormovisitorsromGinlingmostnotablywhenFIG.1.GinlingCollegeWeekexhibitatSmithCollegeMarch1949.FromlettorightRoseSunclasso1949Chia-tingChangclasso1948andMaryElizabethOckendenclasso1950areshownexaminingmaterialsinthedisplay.SmithCollegeArchivesSmithCollege.PhotographbytheSmithCollegeNewsOfce. 12ACENTURYOFCOLLECTINGARTOFASIADr.WuYi-angagraduateoGinlingwhobecamepresidentothatcollegein1928traveledtoSmithin1943toreceiveanhonorarydegree.4TheexchangebetweencampusesisreectedinSCMAscollectionbyaChinesepaintingaterthestyleoMaYuanandagroupoancientChinesecoins5gitsromGinlingCollegethatcamein1922asexpressionsoappreciationtoitsAmericansponsor.TheearlytwentiethcenturyalsosawthematurationotheCollegesartprogramandthevisionoritsartcollection.Intheallo1906AlredVanceChurchillwholledanewacultypositionresponsibleorteachingthehistoryandinterpretationoartjoinedDwightTryontheheadotheartdepartment.ChurchillplayedanimportantroleinthedevelopmentotheartcollectionbeginningtomoveitawayromitsdominantocusonAmericanart.In1919hewasappointeddirectorotheCollegesHillyerArtGallerywhichwouldofciallybecometheSmithCollegeMuseumoArtin1926andtheollowingyearthetrusteesaskedhimtoormalizeaplanorthedevelopmentothecollection.InresponseheauthoredOurConcentrationPlanwhichprioritizedbuildingdepthinmodernartthenunderstoodasartromthetimeotheFrenchRevolutiontothepresentwhilealsoremainingopentoopportunitiestoacquirerepresentativeartworksromthroughoutthehistoryoart.ChurchillsplanwhichaspiredtotheacquisitionoworksbyartistsromDavidtoCzanneguidedtheormationothecollectionthatdistinguishesSCMAtodaywithitsstrengthinnineteenth-andtwentieth-centuryWesternEuropeanandAmericanart.AsCharlesChethamSCMAdirectorrom1962to1988explainedtoacollectorinthe1920stheSmithCollegeMuseumoArtdecidedtoconcentrateonthecollectingoWesternEuropeanart....TheearliestdirectorschosenottocollectOrientalart.TheydidnotregarditasineriorbuttheyeltthatmodernculturewasdirectlylinkedwiththatoWesternEuropeandarlessdirectlylinkedtothatotheEast.OntheotherhandtherewasnopolicyoexcludingworksoartromtheOrient.Thesimpleactisthattheywereneverpurchased.6IndeedthesecondquarterothetwentiethcenturywasmarkedbythegrowthothecollectionalongthepathenvisionedinChurchillsconcentrationplanandundertheleadershiprom1932to1946oJereAbbott.IneachohisourteenyearsasdirectorAbbottdeployedanacquisitionundestablishedinthelatenineteenthcenturytomakestrategicpurchases.HesystematicallybuiltthescopeandqualityothecollectionacquiringsuchiconicworksasMonetsTheSeineatBougivalPicassosTableGuitarandBottleSeurats 13WomanwithaMonkeySheelersRollingPowerndmnyothers.WhenhecollectedrtootherculturesAottschoicesrefectedtheestheticinterestsomodernistrtistssuchstheexquisiteLuceremonilxeththepurchsedinPrisin1939ndpre-Columinhachacquiredin1934.7AsinrtwslrgelysentromAottsprogrmwiththeexceptionomodestnumerogitsromlumne.ThisegntochngeundertheledershipoEdgrSchenckwhocmetoSmithin1947romtheHonoluluAcdemyoArtswherehehdeendirectorortwelveyers.APrinceton-trinedrthistorinSchencksexpertisewsinOrientlndPolynesinrtsndwesternpintingintereststhtinormedhiscontriutiontoSCMAduringhisrietenure.Schenckletin1949tossumethedirectorshipotheAlrightKnoxArtGllery.8HismjorcquisitionortheMuseumwsYun-dynstypintingDepartureofLadyWenjifromtheNomadCampct.no.8workwithsignicntprovenncehvingcomeromtheimportntcollectionoChinesepintingsormedyMr.ndMrs.G.DelDrgooNewYork.SchencklsonurturedgitstothecollectionnotlygrouponineChineseworksgivenin1947yWillimS.T.ChngthtincludedlovelynpintingSolitaryMonasteryinMountainsyYoZhengyongct.no.11.InthedecdesollowingWorldWrIISCMAscollectionegntogrowmorerpidlysustntillythroughgits.Whilegitshdlongplyednimportntroleinthecollectionsdevelopmentinthemid-twentiethcenturytheproportionocquisitionsmdeydontionversuspurchseshiteddrmticllysseriesoprivtecollectionscmetoSCMAexpndingnddeepeningtheMuseumsholdings.SomeothesecontriutionsuiltupontheoundtionslidyChurchillndAottorexmplegitsmdeetween1950nd1968ysistersAdelineFlintWingclsso1898ndCrolineRoertWingclsso1896omorethn250AmericnndEuropenworksortorthegitsmdeetween1969nd1983ySelmErvingclsso1927o757superImpressionistndPost-Impressionistworksonpper.OtherdontionsnotlycollectionsoChineseJpnesendIndinrtdiversiedtherngeoSCMAsholdingsestlishingnewresostrengthinAsinrt.TherstothesewsMr.ndMrs.IvnB.Hrtsgitsin195962ocollectionoty-threerchicChinesejdesprimrilydtingtotheShngndZhoudynstiesincludingtheBladeHornedOwlndBird-shapedPendanteturedinthisctloguect.nos.12and2b.ThismrkedturningpointintheMuseumscollectinginnumerowys.NotonlyweretheseSCMAsrst 14ACENTURYOFCOLLECTINGARTOFASIAsignicantacquisitionsoancientChinesearttheycameasanintactcollectioncontributedbydonorswithnopriorconnectiontoSmithCollege.DirectorRobertParkswasintroducedtoMr.andMrs.Hartin1958byErnestGottliebamemberoSCMAsnewlyormedVisitingCommitteeanadvisorybodyormedaspartoanoveralleforttoproessionalizetheMuseumspoliciesgovernanceandoperations.9ParksoundmuchtoadmireintheHartscollectionincludingDelttin-glazedceramicsandanIndianbronzesculpturebuthesethissightsonthecollectionoarchaicjadesthattheHartshadrecentlyacquired.10IvanB.HartwasaDutchwoolmerchantwhohadimmigratedtotheUnitedStatesin1940withhiswieJennyMartheRoselaarandtheirchildren.OriginallybasedinBostonandthenNewYorkheprosperedduringthewarbecauseothedemandorwool.HeandhiswiewereavidcollectorsoawiderangeomaterialincludingclockssilverantiqueurnitureDutchpaintingsandsnufboxes.11Theywerephilanthropicallyinclinedcontributingworksparticularlytoacademicmuseums.TheHartsacquiredtheChinesejadesin1956uponthedeathoSamuelMinkenhowhohadormedthecollection.LikeHartMinkenhowasaDutchbusinessmanwhohadletAmsterdamin1939settlinginNewYork.HisbusinessintheimportandexportotextilestookhimtoChinaandSouthAsiaandwhilehecollectedEuropeanarthisinterestgraduallyturnedtoAsianprimarilyChineseartwhichhebegancollectingin1931.12InretirementMinkenhodevotedhimseltoresearchingandbuildinghiscollectionoChinesejadesandbronzes.TheHartsacquisitionothejadesseemstohavebeenmotivatedbythedesiretopreserveMinkenhoscollectionandwiththeintentodonatingittoamuseum.TheylentthecollectiontotheMetropolitanMuseumoArtandthenin1960ormalizedtheircommitmenttogivingitinitsentiretytotheSmithCollegeMuseumoArt.EightyearslaterDianeSchareldIsaacsamemberotheclasso1961whohadbeenastudentatthetimeotheHartsgitbroadenedSCMAsholdingswithagitonearlyortyMingandQingdynastyjades.TherenewedinterestincollectingAsianartevidencedbyRobertParkspursuitotheHartcollectioncorrespondedwiththeintroductionoAsianstudiestoSmithscurriculum.CharlesWhitmanMacSherryhadjoinedthehistorydepartmentasanassistantproessorin195253teachingayear-longintroductiontoFarEasterncivilization.In195657hebeganteachingtwonewcoursesortheartdepartmentOrientalArtTheArtoChinaandOrientalArtTheArtoJapan. 15Theollowingyerhewspromotedtossociteproessorinthedeprtmentsohistoryndrtndhisrthistorycoursesbecmepermnentofering.13TheMuseumrecognizedthisinthello1957withspecilexhibitionoChineseobjectslentbyPulineBerwldFlkclsso1932includinggroupoShngndZhoudynstybronzes.ProessorMcSherrybecmeclosecollbortorwiththeMuseumhelpingtonurturedevelopmentothecollectionnditsuseorstudyndtechingg.2.Othersignicntgitssoonollowed.In1965MjorndMrs.OliverJ.Todddontedorty-oneChinesebronzestoSCMAct.no.3agitththonoredtheirdughterSmithlumnDorisToddBrownclsso1949.Thecouplehdmetinthe1920sinChinwhereMjorToddwsworkingsnengineerortheAmericnRedCrossndtheInterntionlFmineRelieCommissionndhisuturewiewsmediclmissionry.TheycontinuedlivingndworkinginChinuntilthelte1930sndduringthttimebuilttheircollectionoChinesebronzeswithMjorToddpublishingbookontheircollectionobronzemirrorsin1935.14SeventeenmirrorsormedthecoreotheirdontionwhichimportntlyexpndednddiversiedSCMAsChineseholdings.FIG.2.ProessorChrlesW.McSherryshowingChinesescrollSC19222-1gitromGinlingCollegetoEvW.Nirclsso1928.SmithCollegeArchivesSmithCollege. 16ACENTURYOFCOLLECTINGARTOFASIATwoyearslaterthecollectionwasurtherdeepenedbyatransormationalgitomorethan500Japaneseprintsandobjectsincludingnetsukeinroandtsuba.ThiscameromMargaretRankinBarkerclasso1908inmemoryoheratherIsaacOgdenRankin18521936whohadormedthecollectioninthelatenineteenthandearlytwentiethcenturies.RankinwasacongregationalministerandeditorotheCongregationalistwhowasalsoadedicatedstudentandearlycollectoroJapaneseart.15BasedinNewEnglandheactivelyollowedexhibitionsandsalesoJapaneseartinNewYorkandBostonandenjoyedthehelpohisdaughterMargaretaterhergraduationromSmith.Hergitulflledhisaspirationthatthecollectionwouldbekepttogetherandwouldtakeupanexistenceinsomeeducationalinstitution.16Itincludedsome400ukiyo-eprintsenormouslyexpandingthenucleusoprintsinthisgenrethatSCMAhadfrstacquiredin1915.ParticularlystronginitsrepresentationotheworkoHiroshigeandHokusaitheBarker-RankincollectionincludesarareearlyimpressionoHokusaisClearWeatherSouthernBreezealsoknownasPinkFujicat.no.20theonlyuntrimmedfrststateothisprintheldinthecollectionoanAmericanmuseum.InacceptingtheBarker-RankincollectionorSmithCollegePresidentThomasMendenhallacknowledgeditstimelinessinlightotheMuseumsgrowinginterestinbuildingitscollectionoAsianart.In1967planswereaoottocreateanewintegratedfneartscenterthatwouldincludeexpandedacilitiesortheartmuseumasSCMAscollectionandexhibitionprogramhadoutgrowntheTryonGallerythathadhousedtheMuseumsince1926.MendenhallreportedtheaspirationsharedbyDirectorCharlesChethamandProessorCharlesMacSherrythatthenewspacewouldalloworthedisplayoAsianartnotingthattheBarker-Rankincollectionwouldprovideuswithamagnifcentcoreorthisnewventure.17ChethamandMacSherryhadtheopportunitytoacturtheronthatvisionwhenJohnKennethGalbraithandhiswieCatherineAtwaterGalbraithclasso1934approachedtheCollegeaboutagitoIndianpaintingsin1975.AmonghismanyaccomplishmentsGalbraithwasadevotedstudentandcollectoroRajputandMughalpaintingeversinceallinginlovewithIndianpaintingwhilevisitingIndiain1956andspecifcallytheBharatKalaBhavanmuseum.18ServiceastheUnitedStatesambassadortoIndiarom1961to1963gaveGalbraiththeopportunitytodeepenthisinterestyieldingnotonlyachoicecollectionotheseintimateandevocativepaintingsbutalsoascholarlystudyIndianPaintingTheSceneThemesandLegendswrittenwithhisriendMohinderSinghRandhawa.19ReturningtoHarvardUniversityin1963theGalbraithssharedtheircollectionina1965exhibitionGodsThronesandPeacocksandintheearly1970sgavea 17substantialpartoittoHarvardsFoggMuseumoArt.20CuratorandscholarStuartCaryWelchdrewapoeticconnectionbetweentheseexquisitepaintingsandtheircollectorsnotingthatKenandKittyGalbraithwerepeoplewhonotonlyappreciatedthenuancesocolorlineormanddepthoeelingorcharacterizationseeninthepicturesbutwhoseliveshavebeenimbuedwiththebeautyotheirpictures.21ThegroupopaintingssubsequentlyoferedtoSmithduplicatedworksgiventotheFoggorwerecollectedaterthatgitwasmade.AttractedbytheideaohavingthebalanceothecollectionpreservedatasisteracademicmuseumGalbraithapproachedSCMAnotinghiswiesgreatafectionorSmithaswellasthecriticJohnRussellsrecentpraiseortheMuseuminTheNewYorkTimes.22InexpressingappreciationortheGalbraithsoferChethamobservedthatthegitwouldbuildonsomerecentmajorgitsoorientalartandthatarrombeinginappropriatetoawesterncollectionitwouldcreateanewareaordevelopmentbyprovidingthelinkbetweenartotheeastandwestrecognizingthepaintingsintegrationoAsianandEuropeanpictorialtechniques.23UltimatelySCMAreceivedthirty-ourpaintingsin198182withanadditionalsixpaintingsandtwoTibetantangkascomingasabequestromJohnKennethGalbraithin2007includingtheconspiratorialMistressandConfdanteSeatedonCarpetinCourtyardcat.no.30.CoincidentwiththisgrowthincollectingwastheexpansionocurricularoferingsinAsianstudiesandlanguages.SmithwasoneotherstliberalartscollegestooferinstructioninChineselanguagebeginningin1965whenHenryLi-HuaKungjoinedtheacultyandadecadelaterJapaneselanguagewasintroducedbyMutsukoMinegishi.24TodayKoreanlanguageisalsotaught.In1974CharlesMacSherrywassucceededbyMarylinRhieg.3ascholarwithparticularexpertiseinBuddhistartoCentralAsiawhosustainedcoursesontheartoChinaandJapanwhilealsointroducingnewcoursesontheartoIndiaTibetKoreaCentralAsiaandBuddhistartaswellasasurveyoAsianart.InthissametimeperiodnewmembersotheacultyarrivedwithspecializationindiverseareasoAsianstudiesincludinggovernmenthistoryliteraturephilosophyandreligion.Thisemergingstrengthcoalescedintheearly1980sintheestablishmentotheEastAsianStudiesProgramwhichbringstogetheracultyromdiferentdisciplinestooferaprogramostudyotheregion.25TheestablishmentoamajorandaminorandthecreationoadistinctDepartmentoEastAsianLanguagesandLiteraturessoonollowed.WiththegrowthanddiversicationoSCMAscollectionMuseumstaforgednewconnectionswiththecurriculum.Acatalytic1992grantromtheAndrewW.FIG.3.ProessorMarylinRhie2007. 18ACENTURYOFCOLLECTINGARTOFASIAMellonFoundationsCollegeandUniversityArtMuseumProgramallowedSCMAtolaunchaprogramthatsupportsacultyindevelopingcoursessubstantiallytaughtromthecollectionandwithintheMuseum.ThistransormationalandongoingprogramoMuseum-basedcourseshasstimulatedgreaterintegrationothecollectionintoteachingandmuchbroaderuseacrossdisciplines.ForexamplewithintherstewyearsacultyinthedepartmentsoAmericanstudiesartchemistrydanceEnglishmusicphilosophyandtheaterdevelopedcourses.EastAsianStudiesalsoutilizedthisnewopportunityorcollaborationwiththeMuseumoferingJapaneseAestheticsLandscapesandGardensanearlyMuseum-basedcoursetaughtbyProessorTaitetsuUnnothatdrewonSCMAsukiyo-eprintsanddiverseacultyexpertisetostudyJapaneseaestheticsandtheirbroadinuence.26Whenplanstookshapeinthelate1990soracompleterenovationotheFineArtsCenterincludinganexpansionotheMuseumtheMuseum-basedcourseprograminormedtheredesignospaceswiththeintroductionoon-siteclassroomsthatallowdirectteachingromoriginalworksoartandthecreationotheWinslowTeachingGalleryadedicatedspaceorthedisplayoartbeingusedinclasses.AspartothestrategicplanningundertakenbyDirectorSuzannahFabing1992-2005inconjunctionwiththisprojecttheexhibitionandcollectingonon-WesternartwasarticulatedasanimportantinstitutionalpriorityinsupportoSmithCollegesexpandingandincreasinglyinternationalacademicprogram.Withinthisnon-WesterninitiativetheocusonAsianarttookonimmediatemomentumthankstothecombinationoextraordinaryalumnaesupportthedepthandbreadthoexpertiseamongacultypartnersandtheinterestandenthusiasmexpressedbystudents.AdvocacyorSCMAsrenewedefortsinthisareahasbeenledbyanAsianArtTaskForceanadvisorybodyodedicatedandknowledgeableSmithalumnaeormedin2001andchairedwithvisionandenergybyJoanLeboldCohenclasso1954.ConsultingCuratorSamuelC.MorseascholaroJapaneseBuddhistartandproessorintheDepartmentsoArtandtheHistoryoArtandAsianLanguagesandCivilizationsatAmherstCollegehasservedasascholarlyadvisorandguestcuratoronumerousexhibitions.TheMuseumscuratorialexpertisewasurtherexpandedin2010withthearrivaloDr.FanZhangonathree-yearappointmentastheFreemanMcPhersonCuratorialandTeachingPost-DoctoralFellowinEastAsianArtapositionsupportedinpartbymembersotheAsianArtTaskForce.BeginningwiththereopeningotherenovatedBrownFineArtsCenterin2003SCMAhasmountedanambitiousrosteroexhibitionsoAsianartincludingTheFloatingWorld2003TheHartCollectionofArchaicChineseJades2004 19TheLegendofHachimanAHandscrolloftheTosaSchool2004ConfrontingTraditionContemporaryArtfromKyoto2004FashioningTraditionJapaneseTeaWaresfromtheSixteenthandSeventeenthCenturies2007AestheticsoftheSacredTheBuddhistArtofTibet20072020VisionContemporaryJapanesePrintsGiveninHonorofHilaryTolman872007Movement2008Post-MaoDreamingContemporaryChineseArt2009andTouchFireContemporaryJapaneseCeramicsbyWomenArtists200910.TworecentexhibitionsTranscendingBoundariesTheArtandLegacyofTangChina2011andPursuingBeautyTheArtofEdoJapan2012werepresentedaspartoaninnovativecollection-sharingpartnershipwiththeYaleUniversityArtGallery.ManyotheseexhibitionsintroducednewacquisitionstotheSmithcommunityandallothemweremetwithactiveinterestandengagementbyacultystudentsandtheMuseumsbroaderaudiencesafrmingthevalueothisocusonAsianart.ProessorThomasRohlichDepartmentoEastAsianLanguagesandLiteraturesactivelyusedtheexhibitionConfrontingTraditionContemporaryArtfromKyotog.4whichwascuratedbySamuelMorseorhisrst-yearFIG.4.KatsushigeNakahashiandinstallationvolunteerswithPhantomZerocreatedbytheartistortheexhibitionConfrontingTraditionContemporaryArtfromKyoto2004.PhotographbyDerekFowles. 20ACENTURYOFCOLLECTINGARTOFASIAseminarKyotoThroughtheAges.EvenaterthecloseotheexhibitionhecontinuedtodrawonitscontentorthiscoursewhichwascomplementedbyaJanuarytriptoKyotoandvisitswithseveralotheartistsincludedinConfrontingTradition.SpeakingabouttheimpactothisexhibitionProessorRohlichobservestheconnectionsthatcameromtheexhibitionhavebeenmaintainedandstrengthenedeventothisday.27SubsequentlyProessorsRohlichandMorseco-taughtTheTeaCeremonyandJapaneseCulturewhichintensivelyutilizedtheobjectseaturedinFashioningTraditionJapaneseTeaWaresfromtheSixteenthandSeventeenthCenturiesfg.5.TheirswasthefrstFiveCollegecoursetaughtontwocampusesSmithandAmherstCollegesanditattractedlivelyinterestenrollingstudentsromourothefvecolleges.TheworksinFashioningTraditionwereborrowedprimarilyromPeggyBlockDanzigerclasso1962andRichardM.Danzigerwhosecollectionisnotedorthequalityrarityandhistoricalimportanceoitsteaceremonyobjectsfg.6.AttheconclusionotheexhibitiontheDanzigersmadeagitoobjectsincludingworksopaintingandcalligraphyascreencat.no.17vasekettlecat.no.27storagecontainerandceramicteabowlthatwouldbeoundinaritualteaarrangementortoriawaseprovidingtheoundationorcontinuedstudyotheJapaneseteaceremonyatSmith.AtrusteeotheCollegeandoundingmemberotheAsianArtTaskForcePeggyDanzigertypifestheextraordinaryknowledgeleadershipandgenerosityFIG.5.ToriawaseinateahousesettingortheexhibitionFashioningTraditionJapaneseTeaWaresfromtheSixteenthandSeventeenthCenturies2007.PhotographbyPetegorskyGipe. 21embodiedbySmithalumnaewhoaretransformingtheplaceofAsianartwithintheSmithCollegeMuseumofArt.Theircontributionsaretoonumeroustobefullydescribedherebutafewexampleswillsuggestthevarietyoftheirexperienceandthedepthoftheirimpact.WhenSCMAreopenedwithexpandedspacesandaspirationsin2003WanKyunRhaKimclassof1960andherhusbandDr.AndrewByongSooKimsteppedforwardwithgiftsofanimportantgroupofworksrepresentativeofthevisualcultureofpost-revolutionaryChinaincludingTangMulisYoungBuglercat.no.32.Mrs.KimwhowasoneofatinyconstituencyofKoreanstudentsatSmithinthelate1950shasalsohelpedexpandtheMuseumsholdingsincontemporaryKoreanartwiththerecentdonationoftwopaintingsbySukJuLeeandagiftinsupportofthepurchaseofaprintportfoliobyChunwooNamcat.no.53.Thetwentieth-centuryChineseprintsdrawingsandpaintingscontributedbytheKimsarecomplementedbygiftsfromJoanLeboldCohenclassof1954andJeromeA.Cohenofmorethanfortyworksdatingtopost-MaoChinaFIG.6.ProfessorThomasR.RohlichPeggyBlockDanzigerclassof1962andProfessorSamuelC.MorseintheexhibitiongalleryforFashioningTradition. 22ACENTURYOFCOLLECTINGARTOFASIAct.nos.3335n41ng.7.TheCohenscollectiongrewromtheirssocitionwithChinesertistsorgeuringrequenttrvelsnperiosoresiencyinChinsincethe1970s.AsrthistorinJuliAnrewshswrittenTheboyoworkcollectebytheCohensinthoseyersswholerefectstherststepstkenbytheChinesertworlsitbegntooverturnthetotlitrinstnrsththsohrshlysqueezecretiveexpressionintheMoister.28CollectornglleristEthnCohensonoJonnJeromehsexpnetheMuseumsholingsocontemporryChinesertwithnumerousgitsincluingnimportntgroupoprintspublishengiveninprtnershipwithPceEitionsnRichrnAnnSolomonclsso1959ct.nos.51n52.TheseworksinturnugmentgrowingstrengthintherepresenttionoprintmkinginEstAsinurturebyseriesogitsromTheTolmnCollectionTokyothemjorelernpublisherocontemporryJpneseprintsinhonoroHilryTolmnclsso1987ct.nos.4748n54.Signicntgitshvecontinuetoenterthecollectionsthisexhibitionnctloguereinprouction.In2012SCMAreceivenimportntgitothirty-nineprintsromMr.nMrs.LucioNotobytheinfuentilJpnesertistSekinoJunichirovitlorceintheCretivePrintMovementssakuhangact.no.46.Amemberotheclsso1965hsenoweSCMAwithnextrorinrycol-lectionocontemporrycermicsbyJpnesewomenrtistsct.nos.43a-d.ThecollectionormewithSmithinminocumentstherolethtwomenhveplyeintrnsormingtheworloJpnesestuiocermicswhichwstritionllymle-omintesresultotheirccesstoeuctioninthisFIG.7.InstlltionviewotheexhibitionPost-MaoDreamingContemporaryChineseArt2009.PhotogrphbyPetegorskyGipe. 23feldtertheSecondWorldWr.ThesegitsndmnymorehveestlishednewndgrowingreostrengthincontemporryEstAsinrttSmithfg.8.TheuturedevelopmentoSCMAsholdingsintrditionlAsinrtislsoeingnurturedythegenerosityocollectors.Annonymousmemerotheclsso1957hspledgedgitogroupoevoctiveTng-dynstyfgurinesoMusiciansandMaidsct.no.5whilePtriciMertensBeckwithclsso1968ndStephenR.BeckwithhvemdepromisedgitsothreeelegntSong-dynstyteowlstwoowhichreincludedinthisctloguect.nos.6and6b.Dr.ElizethE.ForcehsmdecommitmenttolevetoSCMAherextensivecollectionoEstAsinrtwhichincludessuperlcquerojectssuchstheEdoperiodDocumentBoxct.no.22ndtheWesternHndynstyincenseurnerct.no.4inthisctlogue.FIG.8.InstlltionviewotheexhiitionTouchFireContemporaryJapaneseCeramicsbyWomenArtists2009-10withworksyKtsumtChiekointheoregroundndscreenyMioMotoko.PhotogrphyPetegorskyGipe. 24ACENTURYOFCOLLECTINGARTOFASIAStudentshavealsoparticipatedvaluablyinthedevelopmentoSCMAscollectionoAsianartdemonstratingthedistinctiveimportanceothisareaocollectingtoSmithsgrowingcommunityostudentsandalumnaeoAsianheritage.29In2005SohlLeeclasso2006andothermembersotheKoreanAmericanStudentsoSmithKASSapproachedMuseumstafwiththeirproposaltomountacampaignamongstudentsandalumnaetoraiseundstopurchaseaworkoartbyacontemporaryKoreanorKorean-Americanwomanartist.AsSohlLeeexplainsacourseonmuseumsandsocietyatAmherstCollegehadintroducedthestudentstoissuesafectingmuseumcollectionsexhibitionsandmissionsandhadledthemtoasksomequestionsaboutSCMAanditsplacewithintheCollegesuchasCanamuseumrespondtoitssocio-politicalenvironmentinaproductiveratherthanapassivewayHowcantherebeagreaterocusoncontemporaryartromAsiaorartaboutcontemporaryAsiaatSCMACanSCMAscontemporaryartcollectionengagecurrentSmithstudentsinwaysthatarerelevanttothemCanstudentsacquireanartworkortheMuseumspermanentcollectionandtherebyafecttheMuseumsdynamics30InansweringthesequestionstheyimpressivelyresearchedrelevantcontemporaryartsurveyedtheMuseumsandacultysneedsandinterestsandraisedundsresultingintheacquisitionoYongSoonMinsinstallationMovementg.9atangiblemeditationonnotionsoAsianidentityandtheideaoagreatdiasporalAsianwaveinartandculturecat.no.56.FIG.9.ArtistYongSoonMininstallingMovement2008.PhotographbyOneMatchFilms. 25OnehundredyearsaterreceivingtherstgitsoAsianartromCharlesFreertheSmithCollegeMuseumoArtispoisedtoexpanditsAsiancollectionasanimportantpartoitsprogramoscholarshipdisplayandteaching.TheworkocuratorsSamuelMorseandFanZhanghasdeepenedourunderstandingothescopeotheMuseumshistoryocollectinginthisareaandthesignicanceoitsexistingholdings.AgittoestablishtheJaneChaceCarrollclasso1953CuratorshipoAsianArthasensuredthatSCMAwillpermanentlyhavestafexpertisetocontinuetodevelopandutilizeitsAsiancollectionstosupportlearningatSmith.AleadershipgitromPeggyBlockDanzigerisallowingtheMuseumtocreateagallerythatwillbededicatedtothedisplayoAsianart.AswelookorwardtothenextcenturyhistoryencouragesusthatwiththesharedcommitmentotheCollegeanditsMuseumplustheinterestandinvolvementoSmithalumnaeandriendsanexcitingnewchapterincollectingAsianartiswaitingtobewritteng.10.FIG.10.Dr.FanZhangdiscussingtheexhibitionTranscendingBoundariesTheArtandLegacyofTangChina2011withAsianArtTaskForcememberBettyHamadySamsclasso1957letandAATFchairJoanLeboldCohenclasso1954right.PhotographbyDerekFowles. 26ACENTURYOFCOLLECTINGARTOFASIA1MichaelGoodisonFoundingaMuseumLaurenusClarkSeelyeDwightWilliamTryonandAlredVanceChurchill18701932ImageandWordNorthamptonMASmithCollege2003117.2SmithCollegeHistoryenwikipedia.orgwikiSmith_CollegeaccessedJuly232012.3EllenWidmerTheSevenSistersinChina19001950inBaysandWidmereds.ChinasChristianCollegesCross-CulturalConnections19001950StanordStanordUniversityPress200988.4JuliaFranzWuYi-angSmithCollegeandEarlyWomensEducationinChinahttpwww.smith.eduworldglobal_past-franz.phpaccessedAugust212012.5SC19222-1andSC1922341-14respectively.ThescrollpreviouslyattributedtoZhouChenisaQingcopyinscribedPaintedaterthestyleoMaYuanQinshansobriquetinanautumndayoRenchenyearotheChenghuaReign1472.6CharlesChethamtoJohnKennethGalbraithFebruary231976SmithCollegeMuseumoArtarchiveshereaterSCMAarchives.7SC19399-1andSC19359-1respectively.8AdelynD.BreeskinEdgarC.Schenck19101959CollegeArtJournal19no.3Spring1960256.9GottliebinvitedParkstojoinhimonavisittotheHartsNewYorkCityhomepromisingYouwillmeetanicecoupleandseeaewnicethings.ErnestGottliebtoRobertO.ParksMay231958SCMAarchives.10InwritingtothankthemorthevisitParksexpressedappreciationortheirwillingnesstocontinuetothinkousintermsotheutureoyourjadeaddingthathewaspermittingmyseltheluxuryoimaginingallthedistinguishedwaysinwhichitcouldbeputtousehereandhowitsuseulnessmightgrowandgrowandgrowtoyourundyingcredit.RobertO.ParkstoMr.andMrs.IvanB.HartDecember171958SCMAarchives.11EmailromLizHarttoLindaMuehligSCMAseniorcuratorandcuratoropaintingandsculptureJuly252012.12MinkenhoinitiallysoughttheadviceoH.F.E.VisserattheStedelijkMuseum.HelaterstudiedattheInstituteoFineArtsatNewYorkUniversitywithAlredSalmonyarenownedscholaroAsianartwithparticularexpertiseinChinesejades.AlredSalmonyInMemoriamSamuelHubertMinkenho18791956ArtibusAsiae20no.1195772.ElizabethLyonsS.H.Minkenho18791956ArchivesoftheChineseArtSocietyofAmericavol.10195667.13MarylinM.RhieAsianArtatSmithCollegeImageandWord79.RhiedatesMacSherrysarrivalto195354butTheSmithCollegeBulletin195253conrmsthathejoinedtheacultythatyearasanassistantproessorinthehistorydepartmentSmithCollegeArchives.14OliverJulianToddChineseBronzeMirrorsChinaSanYuPress1935.15IsaacOgdenRankin18521936www.hymntime.comtchbioranrankin_io.htmaccessedJuly162012.16J.M.BarkertoThomasMendenhallpresidentSmithCollegeNovember71967SCMAarchives.17ThomasMendenhalltoJ.M.BarkerDecember81967SCMAarchives.18JohnKennethGalbraithAViewfromtheStandsOfPeoplePoliticsMilitaryPowerandtheArtsBostonHoughtonMifin1986157.19JohnKennethGalbraithandMohinderSinghRandhawaIndianPaintingTheSceneThemesandLegendsBostonHoughtonMifin1968.ENDNOTES 2720GodsThronesandPeacockswasshownattheAsiaHouseGalleryinNewYorkCitytheBaltimoreMuseumoArtMunson-Williams-ProctorInstituteoUticaNewYorkandtheFoggMuseumoArtatHarvardUniversity.StuartCaryWelchBigManLittlePicturesinBetweenFriendsPerspectivesonJohnKennethGalbraithNewYorkHoughtonMifin199969.21WelchBetweenFriends68.22JohnKennethGalbraithtoElizabethMonganDecember261975SCMAarchives.23CharlesChethamtoJohnKennethGalbraithFebruary231976SCMAarchives.24HenryLi-HuaKungwasanassistantproessoroChineseStudiesatSmithCollege196588MutsukoMinegishiwasaninstructorinJapaneselanguage197482.SmithCollegeArchives.25RhieImageandWord.26Religion277aColloquiumJapaneseAestheticsLandscapeandGardenswastaughtbyTaitetsuUnnoproessoroworldreligionsin199798.27EmailromProessorThomasRohlichtoJessicaNicollSeptember82012.28JuliaF.AndrewsArtistsoChinasReormEra1979intotheMillenniumPost-MaoDreamingChineseContemporaryArtNorthamptonMASmithCollegeMuseumoArt20092.29In201112therewere281internationalundergraduatestudentsnon-residentaliensaccountingor10.9otheSmithCollegestudentbodyincludingstudentsromtheollowingAsiancountriesthenumberostudentsisindicatedinparenthesesAghanistan1Bangladesh7India20Japan5Kyrgyzstan1Mongolia2Myanmar2Nepal6Pakistan8PeoplesRepublicoChina107RepublicoKorea53RepublicoSingapore12SriLanka3Taiwan5Thailand3andVietnam6.These239Asianundergraduatescomprisedmorethanthree-ourthsotheentireinternationalstudentbody.ThesestatisticsdonotreectthesignicantnumberostudentsoAsian-Americanheritage.StatisticsprovidedbytheSmithCollegeOceoInstitutionalResearchandtheSmithCollege201213CourseCatalogue27.30SohlLeeTowardMovementConversationCollaborationandCoproductionMovementNorthamptonMASmithCollegeMuseumoArt20082. 28collectingITISWELLKNOWNTHATCharlesLangFreer18541919awealthyrailroadindustrialistandartcollectorgitedtothenationhiscollectionoAsianandAmericanartalongwithamuseuminwhichtohouseitinWashingtonD.C.fg.11.YetewpeopleareawarethataterFreersettledhisdonationagreementwiththeederalgovernmentin1906overthecourseotherestohisliehealsogavesmallportionsohiscollectionasgitsorbequeststoseveralartinstitutionsandcollegemuseumsinthiscountry.1TheSmithCollegeMuseumoArtwasortunatetobeamongtheseinstitutionalrecipientswithFreersfrstgroupogitstotheHillyerArtGalleryasitwasthenknownconstitutingitsinauguralcollectionoAsianartin1913.SmithwasamongthefrstAmericancollegestoincludethestudyofneartswithinitsliberalartscurriculumwhosedesignwasdescribedinan1872prospectusbythetrusteesMoretimewillbedevotedthaninothercollegestoaestheticalstudytotheprinciplesonwhichthefneartsareoundedtotheartodrawingandthescienceoperspectivetotheexaminationothegreatmodelsopaintingandstatuary....2ToreachthisgoalSmithCollegeinstalledanartgalleryinCollegeHallbuiltin1875andmadeitsfrstacquisitionsooriginalartin1879.TheCollegealsooundeditsartdepartmentin1882andayearlaterdedicateditsnewartgallerytoWinthropHillyeralocalbusinessmanwhohadbequeathedasubstantialundtosupportitsconstructionandorthepurposeoacquiringoriginalart.In1886DwightWilliamTryon18491925asuccessulHartordbornlandscapepainterwasinvitedtoinstructstudioclassesandadviseonartacquisitionsfg.12.DuringhisthirtysevenyearsatSmithProessorTryontooktheleadineducatingwomenartistsandworkedwiththeCollegesfrstpresidentL.ClarkSeelye18371924toestablishafrsttiercollegeartmuseum.VISIONBEYONDBORDERSThLegcyofdwityoncalesfreerFANZHANG 29FIG.11.EdwardSteichen.American18791973.CharlesFreerc.191516.Photograph.CollectionofGeorgeEastmanHouseInternationalMuseumofPhotographyRochesterNewYork.FIG.12.MarceauStudioNewYork.DwightWilliamTryon1912.Cabinetphotograph.CharlesLangFreerPapersFreerGalleryofArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GiftoftheEstateofCharlesLangFreer. 30THELEGACYOFDWIGHTTRYONANDCHARLESFREERSmithCollegesacquisitionoFreersgitsandbequestsoAsianartmainlyresultedromTryonsassociationwithFreerwhowashismajorpatronandriendormanyyears.TryonandFreerhadcommoninterestsinAmericanandAsianartandjointlycontributedtotheCollegespioneeringcommitmenttodisplayingandacquiringAsianartattheturnothelastcentury.YetgiventheMuseumsstrengthsinnineteenthandtwentiethcenturyWesternarttheTryonFreerrelationshipanditsormativeroleinestablishingalegacyoexhibitingAsianartatSmithCollegehavebeenlargelyunexploredinthegeneralhistoryotheMuseum.ThereorethisessayandtheCollectingArtofAsiaexhibitionasawholeseekstorestoretheplaceoAsianartintheMuseumshistoryandtoestablisharmbaseorbuildingonthegroundworkthatTryonandFreerhadlaidtogether.FreernevermarriedbutpursuedhistrueloveAsianthoughthentermedOrientalartwhichheenthusiasticallycollectedormorethantwodecades.3Inacthiscollectingchoicesrarelyconormedtothoseohiscontemporariesduringthelatenineteenthcentury.WhenmostAmericancollectorswereonlyinterestedinEuropeanmasterpaintingsandsculptureFreerbeganbycollectingcontemporaryAmericanartandocusedonaewartistshelikedincludingtheamousexpatriateartistJamesAbbottMcNeillWhistler18341903.AlthoughlesswellknownthanWhistlerDwightTryonwasalsoakeymemberoFreerscircleoartistriendswhoseworksFreerpassionatelycollected.In1889FreerrstmetTryoninNewYorkCitywhereTryonhadestablishedastudioaterspendingnearlyveyearsstudyingartinFrance.4InTryonsstudioFreerwasimmediatelyattractedtoTryonsoutdoorscenesandpurchasedhisrstTryonpaintingTheRisingMoonAutumntheFreerGalleryanexceptionalworkthatwouldsoonhelpTryonwintwoprincipalawardsininternationalartexhibitions.5FreersaestheticsensibilityandtasterespondedwelltothesubtlecolorsandcareullystructuredcompositionoTryonspaintings.BelievingthatFreerwasoneotheewpeoplewhotrulyunderstoodhisworkTryonoferedtodecoratethewallpanelsothelivingandreceptionroomsinFreersDetroithomeaproposalFreerhappilyacceptedin1891.AnxioustomeethispatronsexpectationsTryonspenttwoyearsnishingasetosevenpaintingsthatincludedourseasonallandscapestwoseascapesandanethereallandscape.6ThesepaintingscontributedtoaharmoniousatmospherethatFreersoughttocreateinhishomewherehiscollectionsoartweredisplayedin 31settingsdecoratedinsubduedcolorschemes.TheTonalistexperimentsTryonpursuedduringthislongprojectgreatlyshapedhislaterstylisticdevelopment.InparticularTryonmusthaveconsideredtheprinciplesoAsianartinordertocatertoFreerstaste.WhilecommentingonthesuccessulapplicationocolorsintherstpanelpaintingothisprojectSpringtimeTryontoldFreerthatthecolorandormalelementsothispaintingremindedhimosomeveryoldJapaneseworkswhichencouragedhissearchoranindenableminglingorealandidealinthislandscapeg.13.7IntheollowingyearsFreerbecameTryonsprincipalpatronandassembledagroupomorethanseventyworksbythisartistwhicheventuallybecamesecondinsizeonlytohiscollectionoWhistlerspaintings.FreerrepeatedlyexpressedhisadmirationortheevocativescenesandmoodshitsodiferentseasonsandtimesodayinTryonslandscapeswhichhethoughtotenpossessedapoeticsplendorrivalingnaturehersel.8AtthesuggestionoartistandcollectorriendssuchasWhistlerFreertheninhisthirtiesbegantocollectJapaneseart.HisrstacquisitionoqualitywasasmallanpaintingbyOgataKorin1658-1716purchasedromaNewYorkdealerin1887.9AttractedbytheaestheticprinciplesotheOrientFreerexpandedhiscollectionashisinterestgrewovertime.ItisnotsurprisingthatthepaintingsobothWhistlerandTryonplayedakeyroleinshapingFreersvisionorcollectingAsianartallowinghimtobetterappreciatesubtletiesocolorandtexturewithhiscultivatedeye.10TheelaboratesuracequalityoTryonsworkorinstanceFIG.13.DwightTryon.Springtime.1892.Oiloncanvas38x83in.96.8x211.4cm.FreerGalleryoArtSmithsonianInstitutionWashingtonD.C.GitoCharlesLangFreerF1893.14. 32THELEGACYOFDWIGHTTRYONANDCHARLESFREERparticularlyattractedFreerleadinghimtocompareTryonsDaybreakMaytheFreerGallerywithaJapaneseceramicpiecethatbelongedtothepainter.FreertoldhimIthinkwhenyouputthenishingtouchestotheskyyoumusthaveinmindthepinkushonthebigwhitebowl.11ThiscommentcallstomindaphotographshowingFreerexaminingWhistlersVenusRisingfromtheSeasidebysidewithapieceoBabylonianpotteryandsearchingorparallelsinthesetwoworksoverydierentoriginsg.14.SimilarlyFreercomparedthesuraceoTryonspaintingwiththeglazeoJapaneseceramicsappreciatingTryonssubduedsuggestivelayersocolorthatoundtheirechointhetonalchangesotheceramicglaze.LikeWhistlerwhocreativelyappliedorientalprinciplestoexpressoccidentaleelingTryonalsosoughttoachievearesonanceocolorandtextureinhislandscapepaintings.12InterestinglyalaterphotographothestudioinhisHarperleyHallapartmentshowsthatTryondisplayedAsianceramicsandprintsromwhichhecoulddrawinspirationwhilepaintingg.15.IndeedFreerwasamongtherstAmericancollectorswholearnedtoappreciateelementscommontotheartsotheWestandtheEastanddedicatedhimseltosharinghisinspirationthroughhiscollection.FreersriendandconsultantinAsianartErnestFenollosa18531908ormerlythecuratoroJapaneseartattheBostonMuseumoFineArtsoncedescribedFreerscollectionandrenedtastethiswayAmuralpaintingbyKanoEitokuateabowlbyKenzanandanoilseascapebyWhistlerachievesimilardelicatetonaleects.13InactthispioneercollectorspecicallyaimedtoacquireworksthatwouldcreateaFIG.14.AlvinLangdonCoburnAmerican18821966.CharlesL.FreercomparingWhistlersVenusRisingfromtheSeatoanIslamicglazedpot1909.Platinumprint.CharlesLangFreerPapersFreerGalleryoArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GitotheEstateoCharlesLangFreer.FIG.15.TryoninhisstudioathisHarperleyHallapartmentNewYorkc.1920.FromHenryC.WhiteTheLifeandArtofDwightWilliamTryonBostonHoughtonMifin1930120. 33harmonyobeautiulsuracesormsandcolorsromdiferentregionsandculturespresentingabalancewithinhiscollectionandrevealinganultimatesenseobeautyg.16.14ThisruitulartisticsynthesisthereorebecameFreerspowerulpersonalstatementasaneccentriccollectoroAsianandAmericanart.FreersexperiencesotravelinginAsiaalsohelpedhimtoappreciateTryonsartandtondaspiritualresonancebetweentheEastandtheWest.InaletterwrittentoTryonromJapanwherehespenttwomonthssightseeingandviewingartinmanyamouscitiesFreersaidIalsosympathizewithyourafectionorthecharacteroNewEnglandscenerybutIthinkonegrowstogreaterintimacykeenerappreciationotheobjecthemostlovesaterhismemoryhasbeentonedbyotheragreeableimpressionsshadowyrecollectionsounknownplacesglimpsesoarawaycoastsandstrangehorizonsleaveamysterioussomethingwhichIthinkinpartisthebasisowhatwecalltheimagination....15SoonaterhisreturnromJapanin1907FreerreceivedTryonsnewpaintingTheSeaEveningwhichembodiedanoverwhelmingeelingothevastnessandpowerFIG.16.GeorgeR.Swain.American19th20thcentury.JamesMcNeillWhistlersPeacockRoominCharlesL.FreersDetroitresidencenorthwallLaPrincessedupaysdelaporcelaine1908.Glassnegative.CharlesLangFreerPapersFreerGalleryoArtandArthurM.SacklerGalleryArchivesSmithsonianInstitutionWashingtonD.C.GitotheEstateoCharlesLangFreer. 34THELEGACYOFDWIGHTTRYONANDCHARLESFREERotheseag.17.ThesubtlegradationodarkblueinthisseascapealsoreectsacoldausteritythatpossiblyinspiredTryonwhiletravelingtoMaineearlierthatyear.InalettertoTryonFreerexpressedhisexcitementaboutthequalityothispaintingcomparingittotheamousmasterpieceshesawinKyotoItisawonderMarvelouslyconvincingtremendouslypowerulandextremelydignifed.Nothingcouldbemoretruthulandatthesametimesosubtle....CertainlyIhaveseennothingmoresuggestiveothatparticularmoodothesea.ThecoloringisverybeautiulanditsdirectnessrecallstheworkothegreatmastersotheearlyKanoschoolSesshuSessonandMasunobu.InoneothegreatKyototemplesthereisaninkpaintingoahugewaterallbyaSungpaintercalledOkamatsu....Ibelieveittobeoneothegreatestpicturesinexistence.YouIamsurewouldbeascinatedbyit.Itsgreatqualitiesaresimplicitylineandnotanlightanddark....16FreerparticularlycomparedTryontooneothebestAsianmastersWangWei699759oTang-dynastyChinacitingtheworkobothartistsassourcesospiritualinspiration.InhisreplyTryonagreedthatartistsodiferentculturesandperiodsallhadtheabilitytocaptureinormandcompositionthesubtleefectsonaturebecausetheyallbelongedtoatimelesscommunityocreativeindividuals.17IndeedtheartistandhispatronsharedarenedtasteandbeliethatcametoundamentallyshapetheirviewsoarteducationandcollectingtheFIG.17.DwightTryon.TheSeaEvening.1907.Oiloncanvas30x47in.76.2x121.8cm.FreerGalleryoArtSmithsonianInstitutionWashingtonD.C.GitoCharlesLangFreerF1907.151. 35greatartistictraditionsoWestandEasthadparallelsincapturingthewondersonatureandconveyingspiritualinspiration.AsadedicatedcollectorFreerbynomeansonlywishedtopossessworksoartassymbolsopersonalcultivationandwealth.Insteadheregardedhimselastheguardianoneexamplesoartwhichheintendedortheeducationandinspira-tionoothers.Inlate1904Freerproposedaplantogivemuchohiscollectiontothenationalongwithaundortheconstructionoagallerytohouseitandormakinguturepurchases.WiththehelpohisbrotherWilliamL.FreerandPresidentTheodoreRoosevelttheSmithsonianInstitutionacceptedhisproposalinearly1906.18IntheollowingyearsFreermanagedtoexpandhisdonationtothenationandamassedthemajorityohisAsiancollection.Heparticularlywishedorittobeusedtoteachstudentsandspeciedinhiswillthatspecialarrange-mentsbemadeorstudentsandscholarstoviewanyobjectsnotonexhibition.In1923theFreerGalleryoArtnallyopenedinWashingtonD.C.housingmorethan9000worksoneothelargestcollectionsoAsianartatthattime.AwareothededicationohisriendandthesignicanceohiscollectingmissionTryonintroducedFreertoapromisingexhibitionopportunitywithintheSmithcommunity.WithTryonshelpFreerorganizedtherstpublicexhibitionohisAsiancollectionattheHillyerArtGalleryinFebruary1897ayearaterhisinitialtriptoJapan.ThisexhibitionwhichincludedtwentysixJapanesepaintingsandourscreenpanelswasamongtheearliestAsianartexhibitionsinNewEngland.19AlocalnewspapertheDailyHampshireGazetteFebruary171897reportedthatthisexhibitionwasreceivedwithgreatenthusiasmbyNorthamptonresidentsandaboutsixhundredvisitorsattendedtheopening.ThepublicwasdelightedbytheantasticdisplayopaintingsinthelargegalleryandbytheexceptionalqualityoJapaneseartaboutwhichmostknewlittle.ThisresponseinspirednearbyWilliamsCollegetoinviteFreertobringhisshowtoitsowncampusthatsameyear.ThewarmreceptioninwesternMassachusettsaswellastherisingpublicinterestinJapaneseartencouragedFreertowithdrawcompletelyromtherailroadbusinessanddevotehimseloverthenexttwodecadestocollectingAsianart.FromtheircorrespondenceweknowthatTryonwasverypleasedthatFreeroferedthisintroductoryJapaneseartexhibitionasanopportunityortheSmith 36THELEGACYOFDWIGHTTRYONANDCHARLESFREERcommunitytoappreciateartromotherculturesandtheprinciplesitshareswithWesternart.HeparticularlypraisedanumberointerestingpaintingsincludingKurodaTokosCarpwhichisnowattheFreerGalleryoArtg.18.20InterestinglyTryonhimselwasaloveroboatingandshingandotenenjoyedsummeroutdooractivitiesonthecoastoNewEngland.SurelyFreerwasrememberingthispastimeohisoldriendwhenhesentTryonaMingdynastyhangingscrolloagiantjumpingcarpaworkthatTryoneventuallygavetotheMuseumin1921cat.no.9.21InuencedbyFreerTryonalsobegantocollectJapaneseprintsandChineseceramicsinthemid1890sreceivingoccasionalgitsovertheyearsaswellasabequestoAsianantiquitiesromFreer.OcourseFreerwasasignicantinuenceinpersuadingTryonotheimportantrolethatartromnonWesternculturescouldplayinthedevelopmentostudentsabilitytocreateandappreciateart.InalettertoTryonFreerwrotetheappreciationobeautycouldbestrengtheneddeepenedandbroadenedbyintelligentcomparativestudysuggestingthatAsianartshouldbeusedtohelpstudentsoWesternartsearchorultimatebeauty.22TryoncertainlyhadlearnedthroughFreersexhibitionthevalueoAsianartorteachingstudentsandoferingviewersinspirationalmomentsespeciallyatatimewhentheArtsandCratsMovementbegantothriveinNewEngland.AsaresultinMarch1901FIG.18.KurodaToko.Japanese17851846.Carp.Edoperiodrsthalo19thcentury.Hangingscrollinkandcoloronsilk17x33in.44.9x85.8cm.FreerGalleryoArtSmithsonianInstitutionWashingtonD.C.GitoCharlesLangFreerF1896.92. 37TryonarrangedorFreertohaveasecondexhibitionintheHillyerArtGallerywhicheaturedthirtyveukiyoepaintingsromFreersrecentacquisitions.23NotlongbeoreFreerhadpurchasedseveralgenrepaintingsromtheormerFenollosacollectionandwasparticularlyinterestedintheunconventionalstylesandartisticinnovationsoukiyoeartists.ThusinsteadoprovidinganensembleoexamplesromdiferentschoolsFreerchosetoexhibitthesegenrepicturestooferviewersthekeenerpleasureandmoredirectknowledgeotheaimsandmethodsotheprincipalmastersotheschoolwhichwasrsttobreakawayromacademicpractices.24AterhissecondtriptoJapanin1907FreerbecameincreasinglyinterestedinChineseartbecausehehadlearnedromJapanesecollectorsthatitwasthesourceoinspirationormanyJapaneseandKoreanworks.HealsooundthatewcollectorswerecompetingoveranincreasingsupplyoChineseartwhichwhencomparedtoJapaneseartwasstillundervalued.ThereoreFreermadetwospeciallongtripstoChinawhereheoundmanyacquisitionopportunitiesandbroughtbackalargegroupobeautiulantiquities.25BecausethemajorityocollectorsdidnotbothertomaketheirownsearchinChinaFreerwasabletoseizetheopportunitytoobtainpaintingsbelievedtobeworksoTangandSongpaintersaocusthatheenthusiasticallypursuedortheremainderohislie.26HoweverinMay1911justamonthaterhisreturnromChinaFreersuferedasuddenstrokethatpreventedhimromundertakinganyurtherinternationaltravel.YethedidnotlosehisstrongsenseomissiontobringworksoartromtheFarEasttoAmerica.InsteadotravelingtoAsiahimselhenowocusedonbuyingworksromdealersintheU.S.andagentsinAsia.HealsobegantoassistthedevelopmentoAsianartcollectionsinnewpublicandacademicmuseumsacrossthecountryorexamplewithaspecialgittotheOberlinCollegeMuseumoArtinthehopethatappreciationoAsianartwouldeventuallytakerootwithincollegemuseumsinthiscountry.27FreeralsoshowedawillingnesstopreserveAsianartobjectsintheiroriginalcontexts.HenotonlyjoinedinthesuccessullobbyingortheAmericangovernmentsinspectionoimportedantiquitiestokeepoutthosewithquestionableprovenancebutalsoplannedonoundingaschooloarchaeologytoconserveandexcavateantiquitiesinBeijing.28ItisinthiscontextthatSmithCollegereceiveditsrstgitoAsianartromFreerinJanuary1913agitcomprisingtwelvecarvedwoodenandlacquerpanelswithvariousoralandguralsubjects.GiventhattheCollegepreviouslyhadalmostnoAsianartTryonandAlredVanceChurchill18641949thechiecurator 38THELEGACYOFDWIGHTTRYONANDCHARLESFREERandrstdirectorotheHillyerArtGalleryweredeeplyawareothevalueoFreersgitsandthepotentialorurtherassistanceromthisgenerouscollector.Soonaterthearrivalohisgitstheyselectedsomeothemtodisplayinthegallery.ThroughFreersintroductionLaurenceBinyon18691943keeperoOrientalprintsanddrawingsattheBritishMuseumwasinvitedtogivesixconsecutivelecturesonOrientalartatSmithinNovember1914.29TheCollegealsoinvitedProessorMasaharuAnesaki18731949theounderotherstreligiousstudiesprograminJapantopresentatalkthatmonthonJapaneseBuddhism.InactFreerlovedtoinvitescholarstogivelecturesandotenpersuadedmuseumstoorganizeeducationalprogramslinkedtoAsianartexhibitionsbasedonhisloans.30AvaluablebyproductothelectureinvitationswastheexperthelpthattheMuseumwouldsoonreceive.WithmoneyromtheHillyerFundonbehalotheMuseumBinyonpurchasedinEuropemorethanthirtyrepresentativeJapaneseprints.AtertherenovationotheinteriorothesecondoorgalleriesaselectionotheseprintsalongwithgitsoceramicwaresromTryonandaewotherswasaddedtocompletetheinauguralgalleryinstallationoAsianart.Aphotographtakenaround1915recordsTyronandChurchillworkingtogetherinaroomnexttotheAsianartgallerywhichwasamongtheearliestsuchdisplayareassetasideorAsianartincollegemuseumsothattime.JapaneseprintsandChinesewoodcarvingsaredisplayedontwowallsothisgallerywhileceramicworksaregatheredonshelvesandpedestalsg.19.31ThetasteulinstallationothisgallerydemonstratestheaccomplishmentsoTryonandFreerintheireforttodeveloptheMuseumscollectionintheearlyyearsothetwentiethcentury.In1915FreermovedromhisDetroithometoaNewYorkCityhotelroominordertohaveeasieraccesstohisdoctors.TheredespiteailinghealthhecontinuedpurchasinglargequantitiesoartandassistingthedevelopmentoaewmuseumsthatheavoredbyoferingadviceontheiracquisitionsoAsianartandprovidingloanstotheirexhibitions.32FreeralsohelpedsomeprivatecollectorsoAsianartincludingEugeneandAgnesMeyeroNewYorkandMargaretW.ParkeroDetroitwhowereinspiredbyhimtoeventuallydonatetheirAsiancollectionstoothermuseumsinthisnation.ThroughoferingbothgitsoartandhispersonalexpertiseincollectingFreermanagedtoencouragehisellowAmericanstorecognizeandappreciatethebeautyoAsianart.FreercontinuedhissupportoSmithCollegethroughgitsandadviceonarteducation.33HelearnedromTryonotheworkbeingdonethereandsent 39photographsohiscollectionwithaninquiryabouttheMuseumsinterestinurthergits.Inthewintero1916heaskedTryontobringtoSmithapanelpaintingTheFlyingDuck.InMay1917FreerpersonallyselectedagroupoteachingsamplesincludingeighteenJapaneseandChinesepaintingsnineceramicworksandthreegiltbronzeBuddhistsculpturesromSiam.HewrotetoChurchillReturnostrengthhasenabledmerecentlytogothroughthecollectioninmycareandromitIhavechosenorpresentationtoSmithCollegecertainobjectswhichIconsidermaybeuseultoyourstudentsandwhichItrustiagreeableyouwillacceptwithmycompliments.34ToacilitatethesegitsFreerprepaidtheirpackingandshippingchargesandprovidedshortnotesontheirprovenance.ThevalueohisgitswasrecognizedinaletterromChurchilltoCollegePresidentMarionL.BurtonItisarepresentationotheartotheEastwhicholateyearsiscomingtobemoreandmoreconsideredbythebestjudgesanditwillbeoparticularvalueintheteachingoabstractqualitiesodesigninthecoursesinDesigngivenatSmithCollege.35FreersassistancetotheMuseumincollectingAsianartwascutshortbyhisdeathonOctober251919.YethestillrememberedtheMuseumsuturedevelopmentinhislastdaysandparticularlynotedinhiswillabequestoFIG.19.InteriorviewothesecondfoorgalleryoAsianartintheHillyerArtGallerywithBeulahStrongDwightTryonseatedandAlredVanceChurchillc.1915.SmithCollegeArchives. 40THELEGACYOFDWIGHTTRYONANDCHARLESFREERadditionalartworkstosupportartinstructionatSmithCollege.BasedonFreersspecicwishhisexecutorsprovidedadditionalexamplesoEastAsianpaintingsin1919and1920alongwithoverahundredetchingslithographsandengravingsbyFrenchandAmericanmasters.36TheMuseuminturnorganizedanexhibitioninFreersmemoryOrientalPaintingsandLacquersfromthePermanentCollectionoftheCollegeBronzesandPotteryLentbyT.OnoNovember26December191919.GarrettC.Pier18751943ascholaroOrientalartandriendoFreerwasinvitedtooferanexhibitionlectureonChineseinuenceonthepaintingandsculptureoJapan.AterthearrivalothenalobjectsromFreersbequesttheywereallexhibitedinthegalleryinMay1920.37IFreersoughttodonateandexhibithiscollectionasawayonurturingpublicappreciationorAsianartTryonpassionatelyusedhisartandknowledgetoteachstudentsinmuseumsandstudios.AsAlredChurchillrecalledTryonwouldleavehisstudioworkinNewYorkandcometoNorthamptoneverytwoorthreeweeksduringthesemester.HistrainnormallyarrivedThursdayaternoonandhethenreadintheForbesLibrarythatnight.HisstudioclassesonFridaymorningotenhadmorethansixtystudents.DuringhisstayoncampusTryonlovedcontactwithyoungmindsandwasalwaysreadytoprovideinspiration.HeotenspokewithenthusiasmohisownteachertheFrenchBarbizonpainterCharlesFranoisDaubigny18171878andhisriendWhistlerwhomheconsideredoneothegreatartistsohistime.ItisnotsurprisingthatTryonalsospokeaboutFreeroneothegreatconnoisseursoAmericanandAsianart.38InadditiontohisteachingdutiesTryonwasalwaysinterestedinpromotingtheMuseumasameansoosteringandsupportingeducationinthearts.HenotonlyemployedhisownconnoisseurshipskillandexquisitetastetomakesuggestionsonacquisitionsbutalsousedhisreputationandpersonalconnectionstoencourageartiststogivetheirworkstoSmith.TryoncontinuedtogivehisownworksduringhistenureatSmithincludingRiverMaasatDordrecht1881andOctoberFields1914whichrepresentedhisearlyandlatelandscapestylesrespectively.39FollowinghisguidancetheMuseumassembledalargenumberoexceptionalworksthatdemonstratedthedevelopmentandachievementsoAmericanartinthelatenineteenthandearlytwentiethcenturies.LikehisriendCharlesFreerTryonbelievedthataccesstoandknowledgeononWesternartwouldosteramoregeneralappreciationouniversalprinciples 41obeauty.ItisnoteworthythatTryonhimselhadcontributedtothegrowingAsianartcollectionatSmithhemadehisfrstgitoAsianartinearly1914soonaterFreergavehistwelvecarvedpanels.In1921TryongavetheMuseumhiscollectionoseventyfveJapaneseukiyoeprintswhichhebelievedwouldhavevalueincultivatingstudentstasteinartanddesign.TheMuseumreceivedanadditionalbequestromhiswidowAlicein1930includingsomeeightypiecesoAsianceramicsandmetalwork.40Moreimportantlythisartproessorandhiscollectorriendsharedtheviewthatuniqueworksoartshouldbeavailabletothepublic.ThepioneeringgestureoFreertodonatehiscollectionorpublicbeneftmusthaveinspiredTryonsgittotheCollegeohisownartcollectionalongwithanendowmentorutureartpurchases.41ConvincedthattheexhibitionspaceotheoldHillyerArtGallerywasinadequatetoprovideacomortablespaciousenvironmentorstudentstostudyartTryonalsodonatedundstobuildamuseumtohousetheCollegesgrowingartcollection.AtwostoryNeoGeorgianstylebuildingdesignedbyFrederickL.Ackerman18781950acloseriendoTryonbecamethenewhomeotheSmithCollegeMuseumoArtwhichopenedtothepublicinSeptember1926fg.20.42GiventhatthesystematiccollectingoAsianartwasjustbeginninginthiscountryduringtheearlytwentiethcenturyFreersandTryonsdonationstotheMuseumdemonstrateapioneeringvisionothevalueononWesternarttoaliberal-artseducation.ThroughhisgitstothenationFreersuccessullymadehispersonalquesttobridgeEastandWestintoapublicventure.HealsospreadtheFIG.20.ExteriorviewothenewTryonArtGallerynexttotheoldHillyerArtGallery1926.SmithCollegeArchives. 42THELEGACYOFDWIGHTTRYONANDCHARLESFREERseedsoAsianartamongnumerouscollegemuseumstoenablemorestudentstobeexposedtoFarEasternartandculture.TryonontheotherhandusedhisriendshipwithFreeraswellasthedonationohisowncollectiontobolsterarteducationandcollectingatSmithCollege.InshortthesetwocloseriendswerepartnersinapioneeringventuretheyexploredtheaestheticresonancetheyoundbetweenEasternandWesternartandcollaboratedtospreadknowledgeandappreciationoAsianart.TheirefortsocoursesuccessullylaidthegroundworkorSmithCollegescommitmenttocollectinganddisplayingAsianarttosupportaglobalcurriculum.TheirvisionideasandenthusiasmhaveinspiredgenerationsoSmithstudentsandacultymemberstolearnabouttheartoAsiaandtoappreciatetheculturesoothers. 431ForinstanceFreermadegitstotheOberlinCollegeMuseumoArttheDetroitInstituteoArtstheMinneapolisInstituteoArtsthePeabodyMuseumatHarvardUniversitytheMemorialHallotheUniversityoMichigantheormerUniversityMuseumandtheArtDepartmentoWilliamsCollege.FormoreinormationabouttheinstitutionalrecipientsotheFreergitsseeSubseries5.25ArtInventoriesEstateDistributionoPersonalPropertyintherecordsoFreersdocumentsandlettersattheFreerGalleryoArthereaterFreerpapersFGAarchives.2SmithCollegeImageandWordArtandArtHistoryatSmithCollegeNorthamptonMASmithCollege200315455.3AlineB.SaarinenTeaandChampagneCharlesLangFreerinTheProudPossessorsTheLivesTimesandTastesoSomeAdventurousAmericanArtCollectorsNewYorkRandomHouse1968128.AlsoseeRobertE.FisherCharlesLangFreer18561919inAmericanCollectorsoAsianArtPratapadityaPaled.BombayIndiaMargPublications19861011.4ItisnotablethatinthatsameyearTryonspaintingTheFirstLeavesintheMuseumscollectionwontheprestigiousWebbPrizeromtheSocietyoAmericanArtistsin1889.LindaMuehliged.MasterworksoAmericanPaintingandSculptureromtheSmithCollegeMuseumoArtNewYorkHudsonHillsPress1999104107cat.no.31.5HenryC.WhiteTheLieandArtoDwightWilliamTryonBostonHoughtonMifin19307778.AlsoseeLindaMerrillAnIdealCountryPaintingsbyDwightWilliamTryonintheFreerGalleryoArtWashingtonD.C.FreerGalleryoArt19905153.6MerrillAnIdealCountry5660.7TryontoFreerMarch211896FreerpapersFGAarchives.ForthediscussionothispanelpaintingseeMerrillAnIdealCountry112.8InalettertohisriendWilliamK.BixbywhohadjustacquiredhisrstTryonpaintingFreerpraisedthesubtletyocolorandintegrityospaceinTryonsworksandexpressedhisconvictionthatviewerscouldtrulyexperiencethewonderonatureatermeditativeviewingohispaintings.FreertoWilliamK.BixbyMarch51900FreerpapersFGAarchives.9LindaMerrillFreerALegacyoArtWashingtonD.C.FreerGalleryoArt199359.10NicholsClarkCharlesLangFreerAnAmericanAestheteintheGildedEraTheAmericanArtJournal11.4Oct.197968.11FreertoDwightTryonMarch211898FreerpapersFGAarchives.FortheimageanddiscussionothispaintingseeMerrillAnIdealCountry13031pl.22.12WarrenI.CohenEastAsianArtandAmericanCultureAStudyinInternationalRelationsNewYorkColumbiaUniversityPress199250.13ErnestFenollosaTheCollectionoMr.CharlesLangFreerPacifcErano.219076165.JamesWhistlerisamajorartistwhoinspiredtheEuropeanappreciationoblueandwhiteporcelainandukiyoeprintsduringthesecondhalothenineteenthcentury.Inuencedbythisartistriendwhomherstmetin1890Freerapparentlybelievedthatsubjectmatterwasnotimportant.Heinsteadbelievedthatitwasabsorbedbythebeautyoorminthelyricalworldovisionandthuslovedtocomparethetexturalandtonalqualityohistoricallyorculturallyunrelatedworkstoappreciatethevariedbutperectlybalancedtrendsthatcollectivelyconveyedaharmonyinart.14DavidP.CurryCharlesLangFreerandAmericanArtApolloCXVIIIno.258Aug.198317476.15FreertoTryonJune171895FreerpapersFGAarchives.ENDNOTES 44THELEGACYOFDWIGHTTRYONANDCHARLESFREER16FreertoTryonAugust31907FreerpapersFGAarchives.AtChishaku-inTempleinKyotoFreersawthisgreatpaintingthatwastraditionallyattributedtoOmakitsutheJapaneseequivalentorWangWeiaamouspainteroTangdynastyChina.ButhemistakenlyspelledtheartistnameasOkamatsu.SeeMerrillAnIdealCountry14446pl.33.17TryontoFreerAugust71907TryonpapersFGAarchives.18HelenN.TomlinsonCharlesLangFreerPioneerCollectorsofOrientalArtPh.D.diss.CaseWesternReserveUniversityCleveland1979426432.19ItisworthnotingthatmostAmericanmuseumsdidnothaveAsianartdepartmentsatthattimeexcepttheMuseumoFineArtsBostonwhichlauncheditsJapaneseArtDepartmentin1890withErnestFenollosaasitsrstcurator.Itwasnotuntil1915thattheMetropolitanMuseumoArtoundeditsAsianArtDepartmentbyseparatingitasaunitromitsDepartmentoDecorativeArts.Formorediscussionseeibid.666.20TryontoFreerFebruary201897TryonpapersFGAarchives.21Freerprobablypurchasedthispaintingaround1915.BecauseoitsauspiciousimplicationogoodluckthecarpwasapopularsubjectinpaintingsorreciprocalgitsbetweenriendsintraditionalChina.22FreertoTryonJuly71907FreerpapersFGAarchives.23MerrillFreerALegacy207.24FreertoMaryK.WilliamsMarch41901FreerpapersFGAarchives.25In1909FreermadeaspecialtriptoChinawherehespenttwomonthsvisitingmanyplacesogreatinterestseeingtherealclassicalChinesesceneryotheancientChinesepaintingsserratedmountainsvaryingdistancesandgreatwaterspaces.FreertoFrankJ.HeckerSeptember201909FreerpapersFGAarchives.Healsotrackeddowntreasuresinthehandsonativecollectorsandvisitedrenownedprivatecollections.Freersproductivetripin1909convincedhimtomakeanotheroraytoChinaintheautumno1910.HespentseveralmonthsinBeijingandShanghainegotiatingwithdealersandvisitingprivatecollectorsshippingbackseveralhundredChineseartworksattheendohisstay.HealsovisitedtheBuddhistcavetemplesatLongmeninLuoyangandtraveledbyboatontheWestLakeinHangzhoutoseethescenesotendepictedinSongpaintings.TomlinsonCharlesLangFreer55778.ForabrieintroductiontoFreersChinesecollectionseeThomasLawtonChinasArtisticLegacyApolloCXVIIIno.258Aug.198312735.26ItisnotablethatwhenFreerpursuedoldpaintingsotheTangSongandYuandynastiesonhistripsmostpeoplestillbelievedthatmedievalChinesearthadsurvivedonlyinJapanaswasstatedbyProessorFrederickHirthinhisinfuentialreerencebookTheAncientHistoryofChina1908.WhileotherswerestillbuyingathighpricesromdealersbasedinJapanorAmericathisastutecollectorrealizedtherewereopportunitiestondhiddentreasuresinChinaandthusdirectlycontactedlocaldealersandintermediaries.TomlinsonCharlesLangFreer535.27OberlinCollegewasanothermajorrecipientoFreersgitsoAsianart.In1910itsPresidentHenryChurchillKinglearnedthatCharlesFreerwasgivingsomeduplicatesromhiscollectiontomuseumsandacademicinstitutionsaroundthecountry.KingquicklywrotetoFreerandrequestedadonationorOberlinCollege.In1912FreersentOberlinagitoaboutonehundredChineseandJapanesepaintingsceramicsandsculpturesthathehopedwouldinhiswordsaidsomeoyourstudentstoabetterknowledgeotheFarEast.IamgrateultoStephanieWilesormerdirectorotheAllenMemorialArtMuseumOberlinCollegeorprovidinginormationaboutOberlinsFreercollection. 4528CohenEastAsianArt5758.29SummaryromTheAnnualReportothePresidentSmithCollegeBulletin1914191576.30CohenEastAsianArt56.31ThecomparisonandcontrastbetweenpictorialartandceramicworksinthesamegalleryspacereectasearchoraestheticharmonyandunityodiferentormsandcolorssomethingthatTryonpossiblylearnedromthedisplaysoAsianartinFreershouse.32ForinstanceFreerwasamemberotheBoardoTrusteesotheMinneapolisInstituteoArtsandanhonoraryellowotheMetropolitanMuseumoArt.HealsolentJapanesepaintingstothenewClevelandMuseumoArttosupportitsinauguralAsianartexhibitionin1917.FormoreinormationseeTomlinsonCharlesLangFreer66571.33ItisnotablethatFreerextendedhishelptotheartdepartmentthroughTryonandChurchill.ChurchillonceexpressedhiswishtoFreerorthedepartmenttoreceivesomelanternslidesoWhistlerspaintingsorlecturepurposes.InhisreplyFreerexplainedthatordinaryslidescouldnotcapturetheelusivequalityohisnestWhistlerpaintingsandpromisedtoprovidethebestslideshehad.OnanotheroccasionFreeradvisedthedepartmentwhenitwaslookingoralectureronFlorentinepaintingsuggestingthatdirectcorrespondencewiththeAmericanSchoolinRomemighthelpndsomeoneworthy.FreertoAlredChurchillFebruary201914andMarch61916.TherecordsareintheSmithCollegeMuseumoArtarchiveshereaterSCMAarchives.34FreertoChurchillMay161917SCMAarchives.35ChurchilltoMarionL.BurtonMay221917SCMAarchives.36ThechecklistromtheFreerestateexecutorstotheHillyerArtGalleryMarch181920SCMAarchives.37SmithCollegeBulletin1919192043and45.38AlredV.ChurchillTryonatSmithCollegeSmithAlumnaeQuarterlyxviiNov.1925810.39HenryC.WhiteD.W.TryonAnAppreciationTheHillyerArtGalleryBulletinMarch20192434.SCMAarchives.HenryC.White18611952aHartordbornartistandbiographeroTryonwasparticularlyinterestedincollectingTryonsworksanddocuments.HissonNelsonacquiredthesepaintingsormerlyinSCMAscollection.OctoberFieldswaspurchasedromasaleodeaccessionedworksatGimbelsinthemid-1940sandRiverMaaswaspurchasedromtheMuseumadecadelater.40AlthoughmostoTryonsAsianartgitswereunortunatelydeaccessionedinlateryearssurvivingregistrarsrecordsthatdocumentthoseobjectsdemonstratehisinsightulvisionandgenerosity.41MerrillAnIdealCountry87.42TheTryonArtGallerywasdemolishedtomakewayorthenewFineArtsCenterin1970.FormoreinormationaboutthebuildingotheTryonArtGalleryandtodaysBrownFineArtsCenterrenovated19992003andrenamedseeHelenSearingAHistoryotheArtBuildingsatSmithCollegeinImageandWord4347. 46THELEGACYOFDWIGHTTRYONANDCHARLESFREERNTNHCAOUEWORKSINTHECATALOGUEareorganizedaccordingtotraditionalartthreesectionsconsistingoChinaJapanandSouthAsiaandtheHimalayasandpost-WorldWarIIandcontemporaryartonesectionandorderedwithinthesectionsbymediumthenchronology.Inclusivedaterangesaregivenordynastiesorhistoricperiodsthefrsttimetheyappearthereaterhistoricperiodsarereerredtobynameonly.Artistsarelistedwithamilynamefrstexceptincasesinwhichtheartistismorecommonlyknownorchoosestosel-identiybyfrstnamethenamilyname.Dimensionsaregivenasheightbywidthbydepth.FREQUENTLYCITEDSOURCESConfrontingTradition2004.SamuelC.MorseConfrontingTraditionContemporaryArtfromKyotoNorthamptonMASmithCollegeMuseumoArt2004.Movement2008.LindaMuehligMovementNorthamptonMASmithCollegeMuseumoArt2008.Post-MaoDreaming2009.JuliaF.AndrewsandJoanLeboldCohenPost-MaoDreamingContemporaryChineseArtNorthamptonMASmithCollegeMuseumoArt2009.CONTRIBUTORSAJGAprileGallantSMSamuelC.MorseLMLindaMuehligMRMarilynRhieTRThomasR.RohlichASAjayJ.SinhaFZFanZhang 47catalogue china 50CHINAJADEInEastAsiajadereerstoarangeonemineralsincludingnephritejadeiteandotherhardstones.Thevenerationotheirbeautyrarityanddurabilityhaslastedmorethan5000years.JadeobjectsthatsimulatedpracticaltoolsandweaponssuchasbidiskcongtubeanddaobladewererequentlyoundinNeolithicandBronzeAgeburialsandothersites.Thistrapezoidalbladewhichhasasharpcuttingedgeontheslightlyconcavesideandtwolargeperorationsnearthestraightbacksimulatesafatbroadstoneknietiedtoawoodenstick.Yetgiventherelativethinnessoitsbladethiskniewasnotmeanttobeusedasapracticalim-plement.Itwasmostlikelymadeasaceremonialobjectsymbolizingpowerandwealth.Thematerialoblackneph-ritewithmottledgrayareasotremoliteasoterormonephritegivesthebladeanunusuallusterandamysteriousappearance.ThisbladebelongstoacollectiononearlysixtyarchaicChinesejadecarvingsgiventotheMuseumoverathree-yearperiod19591962byMr.andMrs.IvanB.HartoNewYorkwhowishedtomakethemaccessibleorpublicviewingandstudyatSmithCollege.Thecollectionwasoriginallyassembledinthe1930sbytheDutchnancierSamuelH.MinkenhowhilehelivedinAmsterdamParisandNewYork.ThecollectionwasincludedeitherinwholeorinpartinsomeimportantexhibitionsoearlyChinesejadese.g.attheMetropolitanMuseumoArtin1959andattheClevelandMuseumoArtin1963.1ThisgroupoearlyjadeswaslatersupplementedbyanothergrouposmalljadecarvingsromMing13681644andQing16441911ChinathatweregiventoSCMAbyMrs.StephenIsaacsDianeSchareldclasso1961in1968.FZ1Blade.LateNeolithicperiodc.2000BCEBlacknephrite3x356x1in.33.02x0.00x0.3cmGiftofMr.andMrs.IvanB.HartSC992-3china1ArchaicChineseJadesMr.andMrs.IvanB.HartCollectionNorthamptonSmithCollegeMuseumoArt19635and16. 51 52CHINAJADEBecusejdeistoohrdtoecrvedwithmetlimplementsncientpeoplecouldonlyusersivessuchsqurtzsndtocutgrindndengrveitssur-ce.Despitethetechnologicldifcultyothistime-consumingprocessjdecrvingotheShngdynstydevelopedtonewheights.ApendntintheormostndingowlromtheHrtcollectionexempliesnimportntinnovtionothetimesnimlndirdpendntsegntoeullycrvedintheroundct.no.2a.Thisirdcrvedromplegreenjdehstwohornedersprooscis-likeekndnuprightodywithwingscrvedinC-shpedlines.ItcontrstswithnothergreenpendntromtheHrtcollectionthtrepresentsdierentrelie-crvingstyle.Thistpendnthstwoidenticlsurcesshowingthehookedekdoule-ringeyespirledwingnderectplumesomythiclirdct.no.2b.PossilysymolizingprotectorothededinthedrknessotheunderworldtheowlwsotenrepresentedinShngmorturyrtintheormostonesculp-tureorronzevessels.Mnyurilsinthelte-ShngcpitloAnyngc.13001050BCElsohdjdecrvingsintheshpesoowlsorothermythiclirdsopreythtcouldeusedsnilsorspendntsordecortivendceremonilpurposes.ThesesmllcrvingsshowcsetheenigmticormsndskillulcrtsmnshipoChinesejdertromout3000yersgo.IntheollowingmillenniChinesepeoplecontinuedtousejderticlessper-sonlitemsorhouseholdornmentsdevelopingjdeculturethtvenertedthevehumnvirtuesemodiedinthisnestoneclrityrectitudewisdomcourgendequity.FZ2AHornedOwl.Shangdynasty7ththcenturyBCEGreennephritexxin.4.44x.0x2.22cmGiftofMr.andMrs.IvanB.HartSC5242-2BBird-shapedPendant.ShangdynastyGreennephritexx916in.4.7x3.8x.42cmGiftofMr.andMrs.IvanB.HartSC5242-2china 532A2B 54CHINABRONZEThisram-pommeldaggerandtwobeltbucklesexempliytheanimal-stylebronzeartoChinasnorthernandnorthwesternrontiersduringthelateBronzeandIronAgeseighthsecondcenturyBCE.TheworksrefectthepresenceonomadictraditionsandtheirinfuenceinEastAsia.Steppepeoplespreerredanimalmotissuchaselineswolveshorsesanddeertodecoratetheirweaponssaddlesandclothingandtheseitemswereeventuallyincorporatedintoburials.Thepower-ulstylizationandanimatednaturalismosteppearthadaprooundimpactonearlyChineseart.MajorOliverToddoPaloAltoaormerArmyengineerwhodirectedriveren-gineeringandfoodcontrolprojectsinChinawasaloveroChinesebronzeartandcollectedover1000bronzemirrorsvesselsandsmallmetalworkitems.1In1965hisdaughterDorisToddBrownclasso1949acilitatedherathersgittotheMuseumoorty-onemirrorsandsmallmetalworkitemsincludingthisbronzeram-pommeldag-ger.Consideringtheinscriptionoourseal-scriptChinesecharactersonitshandlethisdaggermostlikelysimulatedasteppeprototypeandbelongedtoaHan-ChinesewarriorrefectingtheriseosteppetraditionsonthebordersonorthernChinaduringtheSpringandAutumnPeriodeighththcen-turyBCE.TheMuseumalsopurchasedtwoWarringStatesPeriodththirdcenturyBCEbronzeplaquesthatwereonceornamentsonabeltorasaddle.Oneportraysatigeropeningitsmouthtodevouritspreytheothershowstwodeerstandingback-to-backandturningtheirheadstowardtheviewer.BeltbuckleswithanimalmotisareotendiscoveredintheOrdosregionomodernInnerMongoliawhereculturalexchangesbetweentheEurasiansteppeandearlyChinathrivedorcenturies.FZ3ARam-pommelDagger.LateBronzeAge8ththcenturyBCEBronzex2xin.28.x.8x.90cmGiftofMajorandMrs.OliverJ.ToddSC9223BAnimalBeltPlaqueTiger.Sino-SiberianIronAgeth2ndcenturyBCEBronze5x3x716in.4.2x8.x.cmPurchasedSC983CAnimalBeltPlaqueDoubleDeer.Sino-SiberianIronAgeBronze2x416x16in..x.90x0.9cmPurchasedSC9841OliverToddChineseBronzeMirrorsAStudyBasedontheToddCollectionof1000BronzeMirrorsFoundintheFiveNorthernProvincesofSuiyuanShensiShansiHonanandHopeiChinaNewYorkParagonBooks1966reprinto1935edition.china 553B3C3A 56CHINABRONZEThisincenseburnerhasamountain-shapedcoverdecoratedwithmotisowildanimalsandhumanguresandaroundbaseembellishedwithanencir-clingdoublebandowave-likemotis.ThedesignsuggestsamountainfoatingintheoceanreerringtothepopularnotionotheislesoimmortalsintheEasternSea.Apowerulnakedmankneelingonaroaringeline-likebeastholdsalottheburnerwithhisrighthand.Whenlledwithsmolderingincensesmokewouldcoilromthesmallholesbehindthepeaksevokinganillusionotheauspiciousvaporexhaledbythemountain.DuringtheHandynasty206BCE220CEChinesepeoplebelievedallnaturewasaliveandbreathingandthatdeitiesandimmortalsresidedinremoteislesandsacredmountainssuchasthemythicalPenglaiIslesandKunlunMountains.ThisincenseburneristhepromisedgitoDr.ElizabethE.ForceaormerpharmaceuticalexecutiveorwhomcollectingAsiandecorativeartshasbeenalielongpassion.TheJapaneselacquerDocumentBoxcat.no.22isalsopartothepromisedgitohercollec-tion.Dr.ForcesincenseburnerisverysimilartoabronzecenserdiscoveredinthetomboPrincessDouWanwhowasburiedaround113BCEinManchengHebei.1Theyareexamplesoboshanluwhichreerstoacensertypethathasamountain-shapedcoverdecoratedinreliewithanimalshuntersandtrees.Becauseotheirassociationwithim-mortalscensersothistypewereotenusedbynoblepeopletoburnscentedpowdersintheirresidences.TheyalsobecameavoriteburialitemsinelitetombsduringtheHandynasty.ThepopularityodecorativemotisandvesselormsassociatedwithimmortalsandmythicalanimalsrefectstheprevailingwishorlongevityandimmortalityinHanChinaandreligiousandmythologicalideasdominantbeoretheriseoBuddhism.FZ4IncenseBurnerBoshanlutype.WesternHanperiod206BCE8CE1stcenturyBCEBronzeHeight10in.26.10cmdiameter8in.20.96cmPromisedgiftofDr.ElizabethE.Forcechina1WilliamWatsonTheArtsofChinato900ADNewHavenYaleUniversityPress199589. 57 58CHINACERAMICSDuringtheTangdynastyeconomicprosperityandmaterialwealthpromptedluxuryburialsamongthenobilitywhosetombsotenincorporatedbeautiulwallpaintingsandrichburialgoodsasadisplayowealthandsocialstatus.Inadditiontoexoticobjectsandvalu-ablematerialsTangaristocratsotenburiedintheirtombslargegroupsopotterygurinesoentertainersandmaidssothatthesereplicasolivingpeoplecouldcontinuetooferserviceintheunderworld.Thesepotterygurinesmightalsohaveplayedanim-portantroleinburialritualsothetime.Theanonymousalumnaownerothisall-emaleorchestraapromisedgittotheMuseumhasasmallbutrenedcollectionoChinesemortuarypotteryguresacquiredovertheyearsromEuropeandealers.Becausemusicwasasignicantpartothedailyentertain-mentoTangaristocratsgurinesomusiciansanddancerswerealwaysentombedtoaccompanythedeceasedintheaterlie.Thissetincludesourengagingmusiciansplayinguteluteanddrumaccompaniedbytwomaidsseatedonthesides.Theyaremodeledingrayearthenwareandcoveredbyawhiteslipandadditionalpigments.TheseyoungladieshaveroundaceshighcoifuresandgraceulgarmentstheirappearancereectstheideasoelegantemalebeautyattheTangcourt.Theadditionoacialdetailsandmakeupgivesthesegurinesgreatin-dividualityandexpressivecharm.Theirhigh-waistedskirtsnarrowsleevesandthinshawlsalsorepresentashionableclothingothetimethatincorporatedelementsromCentralAsia.Thesevividgurinesshowcasetheaccomplish-mentsoseventh-centurymortuarypotterymakingheraldingthecomingpinnacleosculpturalartinthehighTangera.FZ5AFAGroupofMusiciansandMaids.Tangdynasty689067thcenturyEarthenwarewhiteslipwithtracesofpigmentsVaryingsizesheight7175in.8.049.30cmPromisedgiftfromananonymousalumnaclassof97china 59 60CHINACERAMICSDuringtheSongdynsty9601279theshionote-tstingompetitionsspredromtheupperlsstoommontownspeople.Drk-oloredteowlswereprtiulrlydesirlemongteonnoisseurswhoelievedtheomywhiskedtelookedetterndtherothlstedlongerinlkowls.MnySongkilnsrespondedtothisshionwithvrietyonewdeor-tionsndglzesspeillydesignedtoenhnethete-drinkingexperiene.Theowlwithle-shpeddeor-tiont.no.6aishrteristiexmpleoJizhouwrerommodernJinCountyJingxiProvine.Aspeilly-proessedlewouldepstedontothelk-glzedowlndduringtheringthelewouldtrns-ormintoshsuhthtitsoutlinenditsveinswouldeomelerlyvisilesiotingondrkkground.TheJin-wreowlt.no.6bmdeinJinyngCountyFujinProvinehsmoreomplitedglzethtwsenthusistillysoughtyteonnois-seursinludingofilssholrsndmonks.Knownsthehresureetiteturesnestreksolightrownndpthesoohreintheiron-rihdrkglzewhihrequirednefientontrolothekilntemperturetolittleover1300c.Song-dynstyJizhoundJinkilnsreknownortheirteowls.TheseinnovtiveojetsproduedinlrgequntitieswerepopulrinsouthesternChinndlterwereroughtktoJpnyvisitingZenmonks.TheJpneseprtiulrlyprizedtheseimportedermisndlledthemtenmokuwre.TenmokuteowlswhihrstemepopulrinJpnintheourteenthenturyemenimportntomponentothetrdi-tionlteeremonychanoyulteteenth-enturyphenomenon.FZ6AJizhou-wareteabowlwithleafdecoration.SouthernSongperiod1127127912thcenturyGlazedceramicHeight2in..08cmdiameter45in.11.68cmPromisedgiftofStephenandPatriciaBeckwithPatriciaMertensclassof19686BJian-wareteabowlwithharesfurglaze.SouthernSongperiod12thcenturyGlazedceramicHeight2in..08cmdiameter43in.11.18cmPromisedgiftofStephenandPatriciaBeckwithPatriciaMertensclassof1968china 616B6A 62CHINACERAMICSPorcelainisamarvelousinventionoChinesecultureanditsproductionhascontinuouslyevolvedromthethirdcenturytothepresentday.TheKangxi-reignporcelainotheQingdynastywasamousoritshigh-redvariedmono-chromeglazesmadeinJingdezhenthelargestcenteroceramicproductioninChina.Jingdezhenwasparticularlyrenownedoritsproductionocopper-basedredglazesandtheQingemperorsevensentspecialofcialstosuperviseimperialkilnsthere.Dependingonthethicknessotheglazethekilntempera-tureandtheglazecompositionavari-etyoredglazesromdarktopalecouldbeproduced.ThesetypesoglazesareknownintheWestassacricialredoxbloodorsangdeboeufandpeach-bloom.Thisvasewhichhasaaredmouthslenderneckroundshoulderandlongbellyispartoasetoeightelegantvesselsmadeordisplayanduseinascholarsstudio.ThesealmarkatthebottomreadsMadeintheKangxiReignotheGreatQingDynasty.Seedetail.Inadditiontoitsormthisvaseisnotableortheuniquebeautyoitspeach-bloomglazewhichrepresentsthepinnacleored-glazeartistryduringtheearlyeighteenthcentury.Althoughmonochromecopper-redglazewasproducedintheteenthcenturypureredglazeohighqualitywasnotsuc-cessullymadeuntiltheKangxireign.Comparedtootherredglazespeach-bloomglazewashardertoproducebecauseitrequiredextraproceduressuchasblowinglayersoredglazesontoaclearglazewithabambootube.Additionaltreatmentsbeoreringandexpertcontrolovertheowoglazewhileringresultedinanexquisiteaestheticeectmottledpalegreenshadesandpatchescoveringtheredglazesuggestingpeachblossomswavinginaspringbreeze.Becauseothedifcultyocreatingthisglazepeach-bloomredwasonlyappliedtosmallvesselsortheprivateapprecia-tionotheelite.FZ7PeachBloomVase.Qingdynasty16441911Kangximarkandreign16621722PorcelainwithredandpalegreenglazesHeight7in.19.05cmdiameter3in.8.89cmGiftofArthurSvihlainmemoryofhiswifeRuthIsobelDowellclassof1920SC19771china 63 64CHINAPAINTINGEdgarC.Schenck19091959anexpertonOrientalandPolynesianartsdirectedtheHonoluluAcademyoArtsortwelveyearsbeorecomingtoNorthamptontoserveasthedirectorotheSmithCollegeMuseumoArtrom1947to1949.DuringhisshorttenureatSmithSchenckmadeanotableacquisi-tionDepartureofLadyWenjifromtheNomadCampalargeYuan-dynastysilkpaintingromtheormerDelDragocollectionoNewYork.1ApopularthemeinSongandYuanartthestoryrelatesthelieoLadyWenjiotheHandynasty.WenjiwascapturedbythetroopsotheXiongnuanorthernnomadicpeopleandorcedtomarryoneotheirchietains.AtershehadspentadozenyearswiththenomadsandgivenbirthtotwosonsWenjiwasnallyransomedbytheChinesemin-isterCaoCao155220andreunitedwithherather.ThispaintingdepictsthelastmomentbeoreWenjisdepartureorherhomeland.Herhusbandwaitstopresentherwithacupowinetoseeherofwhilehertwoyoungboysgrabherhandtomakeherstay.Seedetail.Ableaklandscapeotwistedrockmassesandleaesstreesemphasizestheemotionalchargeothemoment.Becausetheinscriptiononthepaint-ingstatesitwaspaintedbytheamousYuanartistZhaoMengu12541322in1301thislargescrollwaswidelyknownamongearlyWesternscholarsoChineseartandwasconsideredamongthebestworksintheDelDragocollection.In1949SchenckpurchaseditortheMuseumor8000acon-siderablesumomoneyoraChinesepaintingatthetimethoughaninex-pensivepriceoraZhaoMenguwork.AdecadelaterAsianartscholarsMaxLoehrandJamesCahilldeterminedthattheinscriptionwasspuriousandpostulatedthattheworkwaspaintedbyanorthernChineseartistintheourteenthcentury.Althoughthispaint-ingisnotbyaamousartistitremainsamongthenestChinesepaintingsacquiredbytheMuseumandisevidenceotheMuseumsearlyambitiontoacquireimportantworksoAsianartorthecollection.SchencklaterdirectedtheAlbright-KnoxArtGalleryinBufaloandtheBrooklynMuseumoArtandcontributedtothedevelopmentotheAsiancollectionsatbothinstitutions.FZ8DepartureofLadyWenjifromtheNomadCamp.Yuandynasty1271136814thcenturyHangingscrollmountedonpanelinkandcoloronsilkScroll58x43in.149.54x110.5cmimage51inx36in.129.54x91.44cmPurchasedwiththeDraytonHillyerFundSC194912-1china1LudwigBachhoerTheDelDragoCollectionoChinesePaintingsArtNews3519375-15. 65 66CHINAPAINTINGLikemanyAmericanartistsohistimeDwightTryonbegantocollectJapanesewoodblockprintsandAsianceramicsinthemid-1890s.HedisplayedworksromhiscollectioninhisNewYorkstudiotodrawartisticinspirationromthemwhilepaintinglandscapes.TryonreceivedoccasionalgitsoAsianartromhisriendCharlesLangFreerincludingthishangingscrollwhichde-pictsagiantcarpalongwithtwosmalleronesleapingoutothewater.FormerlyattributedtoRecluseWeiWeidaorenathirteenth-centurypainterrenownedorhiselaboratefshpaintingsthisscrollismostlikelytheworkoanun-knownbutskillulartistothefteenthcentury.WithitscareuldelineationothescalesothecarpandthewavesothewaterthisscrollexemplifesthesubtleinkstrokesandwashesothefshpaintingtraditionduringtheMingdynasty.Becausethecarpwasconsid-eredanauspicioussymbologoodluckandwealthpicturesothemwereotenusedorhouseholddecorationorreciprocalgitsamongriendsinEastAsia.FreerwasundoubtedlyawareoTryonshobbyoboatingandfshingandthesubjectothescrollmadethisanappro-priategittohisfshermanriend.TryongavethisworktotheMuseumin1921.ThepioneeringgestureoFreertodonatehiswholecollectiontoestablishanationalmuseumoAsianartorthepublicsbeneftmusthavein-spiredTryontodothesame.InadditiontogivingworksoWesternartandalargegitoundsortheconstructionoanewmuseumbuildingatSmithTryonalsodonatedhisentireAsianartcollectiontotheCollegeincludingseventy-fveJapanesewoodblockprintsandsomeeightyAsianceramicandmetalworks.FZ9GiantCarp.Mingdynasty1368164415thcenturyHangingscrollinkandlightcoloronsilkScroll115x39in.292.10x99.06cmimage61x34in.154.94x86.36cmGiftofDwightW.TryonSC192112-1china 67 68CHINAPAINTINGChrlesLngFreerwhosegitstoSCMAinugurteditsAsincollectionpurchsedSpringLandscapewithTravelersct.no.10arightromZhngYinchunHngzhoucollectorwhosoldhimnumeropintingsttri-utedtotheSongndYundynsties.In1915ZhngpersonllyinscriedthetitleothispintingndttriutedittotheNorthernSongrtistChenYongzhictiversthlotheeleventhcenturycourtpinterknownorreligiouswllpintingslthoughnoneohisworkssurvivetody.GiventhtiteturescompositioncominingNorthern-Song-styletoweringmountinintheckgroundndSouthern-Song-stylecornersceneintheoregroundthispintingwsmostlikelypintedynunknownMingrtistinssocitionwiththeteenth-centuryZheschoolwhosertistsexcelledtcopyingothNorthernndSouthernSonglndscpestyles.AnotherFreerscrollReclusewithAttendantsunderaPineTreect.no.10bletdepictsreclusivescholrunderpinetreecontempltingmoogroveinthemist.ThislndscpehsstyleclosetothtocdemicpintersservingtheMingcourtndpossilyersthertistsoriginlsignturetthelowerrightcornerwhichredsGusuZhouChenxiepintedyZhouChenoGusu.AverstileproessionlrtistinSuzhoulsoknownsGusuZhouChenwsrenownedorhisworksthtcteredtocustomersdemnds.ZhouonceservedsghostpinterorhisyoungprotgTngYin14701523celertedWu-schoolrtistwhore-ceivedmnyrequestsndcommissionsorhisworks.Thesepintingsrevlu-leexmplesothelndscpestylesomiddle-MingproessionlrtistsinSouthChin.TheylsorefectFreerststeinhisenthusisticpursuitoSong-Yunpintingsduringthelstyersohislie.FZ10ASpringLandscapewithTravelersreturninghomewithluteandsword.Mingdynastylate15thandearly16thcenturyHangingscrollinkandfaintcoloronsilkmountedonpanelPanel87x39in.220.98x100.96cmimage67x36in.170.18x91.44cmGiftoftheestateofCharlesL.FreerSC19199-110BAttributedtoZHOUCHENChinesec.14501535ReclusewithAttendantsunderaPineTree.Mingdynasty16thcenturyHangingscrollinkandcoloronsilkScroll53x22in.136.52x57.15cmimage44x18in.112.39x45.72cmBequestofCharlesL.FreerSC192053-58china10B 6910A 70CHINAPAINTINGScholarcollectorandartistYaoZhengyonglivedasawealthygentlemaninTaizhoupreecturenearShanghaiandonceservedasahighprovincialofcialoJiangsuprovince.Intheearly1860sYaohostedgatheringsoliteratiandassociatedwithagroupoofcialsandscholarswhentheyedtoTaizhoutoevadetheTaipingRebellionawidespreadpoliticalandreligiousupheavalinsouthernChina.Thiselaborateroundanpaintingexecutedinanarchaisticblue-and-greenstyleportraysamountainlandscapewithcareullyorchestratedhillstreesandravineswhereasolitarymonasteryishidden.Thedepictionothismountainreugepossiblyrepresentsthehopeoscholarsandofcialsorapeaceulreclusivelieandalongingorthebeautyonatureatachaoticmomentintime.YaoexplainedinhisinscriptionthatthisanpaintingwascreatedasagittoMaShiqiaod.1864arespectedNanjingpainterknownastheElderShiqiao.ItsstyleisatertheMingartistLuZhi14961576anativeoWuxianJiangsuwhosesobriquetwasBaoshanzi.AdiscipleotheamousWu-schoolliteratiartistWenZheng-ming14701559Luisrenownedorlandscapepaintingseaturingelaboratebrushworkandenergeticexpression.Yaosdelicatebrushworkdemonstrateshisskillinevokingtheoldmastersbutthisworkalsoexempli-esthelotyideasandeleganttasteembodiedinanpaintingswhichwereotenusedasreciprocalgitsamonglateQingscholars.In1947WilliamS.T.ChangdonatedagroupoanpaintingsandcalligraphicscrollsromaormerTaizhoucollectiontoSCMA.AnotheranoaboutthesamedateromthiscollectionSC194712-7whichincludescalligraph-icinscriptionsbytwoscholar-ofcialsQianGuisenin1860andXuShenxiin1863wasalsogiventothesamerecipienttheElderShiqiao.Theseworksprovidearareglimpseintotheliteratiassociationsandartisticproduc-tionsoscholar-ofcialsandlocalgentryinnineteenth-centuryJiangnantheregioninthesouthernreachesotheYangtzeRiverwheremostoChinaswealthandtalentwasconcentrated.FZ11YAOZHENGYONGChinese8c.88SolitaryMonasteryinMountains.Qingdynastyc.80FanpaintinginkandcoloronsilkSheetxin..97x4.27cmimage9x9316in.25.08x24.92cmGiftofWilliamS.T.ChangSC9472-china 71 72CHINAPAINTINGQiBaishiwasthebestknownartistotraditionalinkpaintinginChinadur-ingthe1920sand1930s.BecauseohishumblepeasantbeginningsQihadtomakealivingasacarpenteratayoungage.Helaterbecameaproessionalpainterandsoldpicturesopopulardeitiesandotherapproachablesub-jects.Qidiligentlyappliedhistalentstolearnromtheoldmastersandbegantodevelophisownstyleavoringrusticeleganceandspontaneousbrushworkinatallnarrowscrollormat.In1917QimovedtoBeijingwhereheachievedsuccessandeventuallybecameamousworldwide.QiBaishiwasaprolicartistparticularlynotedorhisinkpaintingsobirdsandowersaswellasocrabsandshrimp.Tocatchtheirmovementwithspon-taneousbrushworkQiotensketchedshrimpromlieandobserveddetailsotheirclawsandbodysegments.ThisscrollisacaseinpointshowinghowQiexcelledatusingefcientbrushstrokestoreducethesubjecttoitsessentialsyetatthesametimevividlycatchingitscharacteristics.InadditiontocalligraphyandpaintingQiwasalsoprocientatsealcarvingandhadcarvedhundredsostonesealsbythetimehereachedmiddleage.AsseenintheinscriptiononthispaintingQicalledhimselarichmanwiththreehundredstonesealstocommemoratehissealcollection.HelenWhitethedonorothescrollreceivedthisandveotherscrollsromherriendMargaretSheetsaChristianmissionarywhotaughtinNanjingdur-ingthelate1940s.Ms.SheetscollectedscrollsthroughgitsandpurchasesandbroughtthemwithhertotheU.S.earlyin1951soonaterAmericaandChinaceaseddiplomaticrelationswiththeoutbreakotheKoreanWar.FZ12QIBAISHIChinese18641957Shrimp.1940sHangingscrollinkonpaperScroll76x18in.194.94x46.99cmimage26x13in.66.04x34.29cmGiftofHelenW.WhiteSC20128-1china 73 japan 76JAPANPAINTINGPoetrywascentraltothepublicandprivatelivesoaristocraticmenandwomeninHeianJapan7941185.Courtierswereexpectedtocreatepoemsinavarietyosituationssuchasorthepoem-matchingconteststhatbeganatcourtduringtheninthcentury.Inthesecontestsparticipantsweredividedintoletandrightteamswithgroupleaderschantingthepoemsonepairatatime.Ajudgeorjudgesdeter-minedindividualmatcheswithabrierationaleorthedecisionandthetallyoindividualvictoriesdeterminedtheoverallteamwinner.Thecompetitionwasintensebutgenteel.Theaesthet-icsothematchwereotenenhancedbyplacingthewrittenpoemsontablesdecoratedasminiaturelandscapessuchasseashorespineorestsorcherrytreesinullbloom.Anelaborateban-quetwithmusicandexchangesosakecupsusuallyollowed.Theultimategoalwastomeritinclusioninanimperialanthologyslightlymorethan6percentotheover30000poemsoundinthetwenty-oneimperialanthologiescomeromthesecompetitions.Theartomatchingpoemswasalsopracticedindividuallypoetswouldcre-ateavirtualcompetitioneitheramonghisorherownpoemsoramongpoemsbyotherpoetseventhosewholivedindiferenttimes.Thisparticulardrawingisothegenreknownaskasen-ehand-scrollsdepictingamouspoetsaccom-paniedbyexamplesotheirpoems.Thepaintingbyanunknownartistisromaourteenth-centuryversionothectitiousCompetitionBetweenPoetsoDiferentPeriodsascompiledbyEmperorGo-Tobaacenturyearlier.Itdepictsthecompetitionbetweenthetenth-centurypoetFujiwaranoKanesukeandtheearlytwelth-centurypoetFujiwaranoToshitada.TR13CompetitionBetweenPoetsoDiferentPeriodsJidaiuduta-awasePortraitsothePoetsFujiwaranoKanesukeandFujiwaranoToshitada.Nambokuchperiod332392SectionofahandscrollmountedasahangingscrollinkonpaperScroll471x2in.9.9x7.94cmimage256x26in.3.27x3.49cmGiftofPhilipHoferinhonorofPresidentJillKerConwaySC9839japan 77 78JAPANPAINTINGBodhidharmaJapaneseDarumaisthelegendaryIndianpatriarchotheZenBuddhisttradition.AccordingtotraditionhecametoChinainthesixthcentury.FollowingameetingwithEm-perorWuotheLiangstate464549r.502549heissaidtohavecrossedtheYangtzeonareedbeorearrivingattheShaolinsimonasterywherehemedi-tatedinacaveornineyears.BothhispassageacrosstheriverandhislengthymeditationbecamepopularsubjectsorpaintingsinChinaandJapan.Thispaintingisexecutedinhighlymodu-latedinklinesthatvaryintheirtonalityaddingdimensiontothefgureothepatriarch.Thegreatestdetailhasbeenreservedortheaceandthedarkestinkusedorthepupilsohiseyesresultinginapiercinggaze.ThispaintingisnowacceptedasanearlyworkbythegreatMuromachiperiodinkpainterSesshTy.SesshdidnottakethenamebywhichheisnowwellknownuntilhisortiesjustbeorehejourneyedtoMingChinain1467.LittleinormationexistsaboutSesshsearlycareerhoweverscholarshavecometobelievethatSesshTyandSessTyanearlyfteenth-centurymono-chromaticinkpainterorwhomnobiographicalinormationisknownwereinactthesameperson.FurthermoreitislikelythecharactersorSesssnamewerereadSesshduringthefteenthcentury.WhilethepaintingisnotsignedthecinnabarredsealinthelowerrightreadsSess.ThedateothepaintingcanbeinerredromtheinscriptionbyJikushinKeisend.1462aZenmonkwhoresidedatHekiunjiinYamaguchiinarwesternHonsh.SesshisknowntohavegonetoYamaguchiin1454soiSesshandSessareindeedthesamepersonthenthisistheearliestdatableworkbySesshexecutedbetweentheagesothirty-fveandorty-three.Thispaint-ingwascertainlywellknownduringthenineteenthcenturyoracopythatisnowintheTokyoNationalMuseumwasmadebyanotherwiseunidentifedHayashiKysetsuin1840.ThepaintingwassoldatauctioninTokyoin1928.IteventuallymadeitswaytotheUnitedStatesbeorebeingacquiredbytheDanzigers.1SM14AttributedtoSESSHTYSessoTy.Japanese14201506BodhidharmaCrossingtheYangtzeRiveronaReed.Muromachiperiod13921573priorto1462HangingscrollinkonpaperScroll73x19in.185.42x49.53cmimage41x14in.104.14x37.46cmGiftofPeggyBlockDanzigerclassof1962andRichardM.DanzigerSC200817-3japan1Foradiscussionothe1840copyandtheimportanceothisworkseeSesshenotabiYamaguchiYamaguchikenritsubijutuskan200653SesshTokyoTokyokokuritsuhakubutsukan200247254. 79 80JAPANPAINTINGTheoriginsotheShintokamiHachi-manareobscure.HismainshrineisinUsaontheislandoKyushuandheisrequentlyassociatedwithsupportortheimportedBuddhistaith.AsearlyastheeighthcenturyhoweverHachimanwasalsoseenasaloyaldeenderotheimperialinstitution.AtaboutthesametimehecametobeunderstoodasamaniestationoEmperorjinoneothelegendaryearlyrulersoJapan.ThepopularityoHachimanincreasedaterthethirteenthcenturywhenJapanwasattackedbyMongolorcesin1274and1281.TheinvaderswererepulsedofthenorthernshoreoKyushubyagreatwindthatwasbelievedtohavebeencausedbydivineintervention.WishingtoassociateHachimanwiththeJapanesevictoryIwashimizuHachimanShrinethemainsanctuarydedicatedtothedeityinKyotocommissionedanewlegendaryhistoryothedeityintheearlyourteenthcentury.IntheteenthcenturythistextwasshortenedandtransormedintoanillustratedversionintwoscrollsknownasHachimannohonji.Therstscrolldepictstheearlyhis-toryothedeityandinthisaccountthesuccessuldeenserommaraudingcontinentalorcesisrecastintoJapansdistantpast.Thesecondscrolldetailseventsleadingtotheoundingo15StyleofSUMIYOSHIJOKEIJapanese15991690TheMiraculousOriginsofHachimanHachimannohonji.Edoperiod1615186817thcenturyPairofhandscrollsinkcolorsgoldleafandgoldandsilverprintingonpaper26117x501in.45.40x1272.54cm26-212x513in.32.70x1303.02cmGiftofAnnandLucienH.CaseAnnHargettclassof1954SC2003261SC200326-2japan 81IwashimizuHachimanShrine.ThedetailshownhereisromtherstscrollSumiyoshiMyjinperormsadancetosummonIsoraadeityotheoceanwhobringswithhimsacredjewelsthatcontrolthetidesromtheunderseapalaceotheDragonKingwhichEmpressJingwillusetodrowntheinvadingKoreantroops.ThescrollsaresuperbexamplesoatypeopaintingknowninJapaneseasYamato-enotableoritsthickpig-mentsaturatedcolorsandminimaluseomodulatedinklines.AlthoughtheoriginsothetechniquecanultimatelybetracedbacktoTangChinainJapanitwasmostotenusedorpaintingsoJapanesesubjectmatter.Yamato-ewasavoredbymembersothearistocracywhootencommissionedworkssuchasthisonethatcelebratedthelegendaryhistoryotheimperialamilyorlieatcourt.Thedecorationothepaperothisworkisparticularlysumptuousandincludesmotisstampedingoldandsilveraswellasgoldlea.Theboxattri-butestheworktoSumiyoshiJokeioneothemostinfuentialpractitionersoYamato-eduringthemiddledecadesotheseventeenthcenturyhoweveritisunsigned.ItwasmostlikelydoneinhisstylebyahighlyaccomplishedbutanonymousartistinKyoto.SM 82JAPANPAINTINGBorninKanazawaKishiGankuwasaprolicpainterknownorhispaintingsotigersduringthelateEdoperiod.AsateenagerhehadbeguntostudynewpaintingstylesbothbyNangaartistswhoworkedinstylesinspiredbyChineseliteratipaintingandbyMaruyama-Shijartistswhousedinkpaintingtechniqueswithrealisticren-dering.KishimovedtoKyotoinhisearlytwentiesandsoonreceivedattentionromnoblepatrons.Thisdelicateportraitincolordatedintheinscriptionrepresentstheearlystyleothisartist.ItdepictsLordGuanYualegendarythird-centuryChinesegen-eralamousorhisvalorrighteousnessandloyaltysittingonachairandlook-ingtotheside.HisimposingappearanceisbasedonChineseolkimagerywhichotenshowsthegeneralwithhischarac-teristiceaturesapinkaceacondentgazeandalongfowingbeard.Abovetheportraitisave-charactereight-linepoemthatpraisesLordGuansmilitaryprowessandnoblevirtuewhichwereparticularlyveneratedbyJapanesesamuraiwarriors.Seedetailbelow.ThispoemwasquotedromtheRomanceoftheThreeKingdomsaamousworkoctioninMingandQingChina.TheinscriberMawatariGoukiotheSatsumapreecturemusthavebeenamiliarwiththestoryassoci-atedwiththispoeminwhichLordGuansparedtheenemyCaoCaobecausehewishedtoshowgratitudetohispreviousbeneactorevenitheymetasrivalsonthebattleeld.LordGuanotenap-pearedinnarrativeandtheatricalartsandwasworshipedasthegodowarinChina.InEdoJapanGuanbecamenotonlyaamouscharacterinliteratureandkabukitheaterbutalsoapopularsubjectoscreenpaintingswoodblockprintsandnetsukecarvings.FZ16KISHIGANKUJapanese17561839PortraitofChineseGeneralGanuGuanYu.Edoperiod1789HangingscrollinkandcoloronsilkScroll79x19in.200.66x49.53cmimage45x16in.114.30x40.64cmGiftofCharlesL.FreerSC19173-13japan 83 84JAPANPAINTINGThissix-paneloldingscreenrecreatestheviewrominsidearoomacrossaverandahandoutintoagarden.Theseasonisearlysummersincebrightlycoloredazaleasbloomamongmoss-coveredrocks.Thebackgroundiscoveredinsilverleaindicatingduskorevening.BambooblindssudareareaconstanteatureoJapanesegenrepainting.Hungmostotenromthesummerintotheautumntheyprovidedprotectionromthesunandinsectsbuttheyalsoafordedadegreeoprivacyrompryingeyes.Thustheyarerequentlyassoci-atedwithromanticliaisons.Theearli-estpoeticmentionosudareisintheManyshtherstcollectionopoemswritteninJapaneseandcompiledintheeighthcentury.ThisversewrittenbyPrincessNukatab.c.638c.690oneothemostaccomplishedemalepoetsotheseventhcenturymakesmentionounrequitedloveaswellasaroomprotectedbyhangingsudareWhileIwaitforyouMylordlostinthislongingSuddenlytherecomesAstirringofmywindowblindTheautumnwindisblowing1Thescreenwasinallcertaintythelet-handelementoapairowhichtheright-handworkisnowlost.Thispaint-ingonlyhintsatthepossiblesubjectmatterothemissingscreen.Itwouldhavebeenaninteriorsceneperhapstheinterioroanaristocratsresidence.Whateverthesubjectthereisanairoinormalityconveyedbythecentralblindthatiswrappedcarelesslyaroundthebamboopolerunningalongthetopedgeasisomeoneraisedtheblindsonthespurothemomenttolookoutside.TheanonymousmasterwhoproducedthisworkwashighlyskilledinYamato-epaintingwhichreliesprimarilyoncolorratherthanmodulatedinklines.Whilethesilverhasnowoxidizedlesseningitslusteroriginallythebackgroundwouldhaveshimmeredasithegardenwereilluminatedbymoonlight.Thegoldblindsurtherheightenthedecorativeefectothework.SM17BlindsOpenbyAzaleas.Edoperiod17thcenturySix-panelfoldingscreeninkcolorgoldandsilverleafonpaperOverall68x153in.172.72x388.62cmGiftofPeggyBlockDanzigerclassof1962andRichardM.DanzigerSC2008171japan1EdwinA.CranstonAWakaAnthologyVolumeOneTheGlisteningCapStanordStanordUniversityPress1993177. 85 86JAPANPRINTSAmongthebestknownworksinJapa-neseartareukiyo-eorpicturesothefoatingworldwhichweremadetocatertothetasteothegrowingurbanpopulaceduringtheEdoperiod.ThesepicturesdepictthetransitorymomentsandfeetingpleasuresothecityoEdopresentdayTokyoincludingscenesromthekabukitheaterbroth-elsstreetsandpopularvenues.Bythenineteenthcenturylandscapehadbecomeanimportantsubjectinukiyo-easwell.In1915LaurenceBinyon18691943thenthekeeperoOrientalprintsanddrawingsattheBritishMuseumhelpedtheCollegepurchaseoverthirtyukiyo-ewoodblockprintsinEurope.AnotableexampleromthisgroupisFireworksatRyogokubyUtagawaHiroshigealsoknownasAndHiroshige.ThisprintdepictsthespectacularsummernightreworksovertheRyogokuBridgeontheSumidaRiver.ThisareawasacenteroreveningentertainmentinthecityoEdowherelocalresidentswouldgatherintherestaurantsonthebridgeandinprivatepleasureboatstoenjoythere-worksaspartosummercelebrations.Thisamousimageisnumberninety-eightromOneHundredFamousViewsofEdo185658Hiroshigeslastandlargestprintserieswhicheventuallyincluded120images.TheserieseaturesunusualperspectivesstrikingcolorsandbolddesignsinitsillustrationsoplacesthroughoutEdo.Becauseworksbythisprolicartistrespondedtopopularinterestintravelandcitylieothetimethisprintserieswasverypopularandwasreissuedinseveralversions.FZ18UTAGAWAHIROSHIGEJapanese1797188FireworksatRyogokufromOneHundredFamousViewsofEdo.Edoperiod188WoodblockprintincoloronpaperSheet135x9in.34.60x23.49cmPurchasedwiththeWinthropHillyerFundSC19110-13japan 87 88JAPANPRINTSOkabeStationwaslocatednearMountUtsuintheprovinceoSurugamodernShizuokapreectureoneothemostdesolateplacesontheTkaidthehighwaythatlinkedtheshogunscityoEdowiththeimperialcapitaloKyoto.Thesitewasknownoranoddlyshapedstonelocatednearalocaltemplethatwasthoughttoresembleacat.InJapancatswerenotconsideredbenignrathertheywerebelievedtobeshape-shitersorshaligasterstakingtheormoyoungwomenoroldhagswhopreyedontheunsuspecting.Overtimethiscatstonebecameassociatedwithanumberoantasticlegendswhichweretheinspi-rationorKuniyoshisprintandanum-berokabukiplays.Thebasicplotalwaysinvolvesayounggirlwhostaysthenightatatemplewheresheiswelcomedbyawoman.Thewomanlatertransormsintoacatdemonanddevoursthegirl.IntheprintKuniyoshishowsademonwithcat-likeearsattackingayounggirl.Thesilhouetteoacatappearsonthelanternandanimageoaerociouscatfllsthebackground.ToheightenthedramaKuniyoshiaddsbrokenreedblindsbetweentheoldwomanandthemonstrouscat.KuniyoshiwasoneothemostpopularprintartistsothelateEdoperiod.Heisparticularlywellknownorhisprintsohistoricalfguresmanyowhomwerethesubjectokabukiplays.Thisseriesofty-eightimageswasacollabora-tionwithtwootherleadingprintartistsotheday.Kuniyoshimadethirty-oneprintsUtagawaHiroshige17971858nineteenandUtagawaKunisada17861864knownasToyokuniIIIater1844eight.AsthescholarTimothyClarkobservesthepairinginthetitleprobablyreerstothejuxtapositionoeachpoststationwithalocallegendorsomeothersubjectassociatedwiththeplace.1Thean-shapedcartoucheatthetopprovidesabriedescriptionothelegendothecatstone.SM19UTAGAWAKUNIYOSHIJapanese988OkabeOkabefromFifty-ThreePairingsoftheTokaidHighwayTkaidgojsantsui.Edoperiodc.844banwoodblockprintinkandcoloronpaperSheet4716x8516in.3.x22.0cmPurchasedwiththeWinthropHillyerFundSC90-30japan1TimothyClarkKuniyoshifromtheArthurR.MillerCollectionLondonRoyalAcademyoArts2009151. 89 90JAPANPRINTSThisprintdesigninitslatereditionsispopularlytitledRedFujiandisoneothebest-knownworksoJapaneseartintheWest.ItispartotheseriesThirty-sixViewsofMountFujiactuallycomprisedoorty-siximagesdesignedbyHokusaibetween1831and1833.ThisrareearlyimpressionothedesignissometimescalledPinkFujibecauseothemoredelicatetonalitiesothecolors.TheimportanceothisworkwasfrstrecognizedbytheeminentprintscholarRogerA.Keyes.1Keyesconvincinglyproposedthatthisimageisthefrstim-pressionothefrststateothedesignthusitrevealshowHokusaiintendedtheworktoappear.Noneothesubtle-tiespresentinthisimpressioncanbeoundinthelaterversionswhicharedominatedbytheintenseredothemountainandthedeepblueothesky.AsKeyeshasobservedHokusairamesthetopothevolcanosconewithlightblue.Inadditiontheskyisnotuniormincolorinsomeareastheblueisdarkerthaninothersaddingmovementtotheclouds.Theseasonislatesummerandthetimeodayisdawn.Keyesnotedthatthemorninglightilluminatestheupperslopeothemountainunevenlybrighteningthelowerslopeotherontothemountain.Mostothesnownearthepeakhasmeltedandthegraypeakturnspinkgivingtheworkitsinormalname.Keyesalsoconvincinglysuggestedthatthisimagewasatransitionaloneintheseries.Theprintswereissuedingroupsofveorsixandthefrstgroupwasdoneexclusivelyinindigo.InthesecondHokusaiaddsonecolorandinthethirdgrouptowhichthisimagebelongsheaddsanother.ForKeyesthisreturntocolormarksareturnoHokusaisartisticconfdenceateraparticularlyhardperiodinhislie.SM20KATSUSHIKAHOKUSAIJapanese17601849SouthernBreezeClearWeatherGaifukaiseifromtheseriesThirty-sixViewsofMountFujiFujisanjrokkei.Edoperiod1831banwoodblockprintinkandcoloronpaperSheet10x15in.26.03x38.73cmGiftofMr.andMrs.JamesBarkerMargaretClarkRankinclassof1908TheMargaretRankinBarker-IsaacOgdenRankinCollectionofOrientalArtSC1968245japan1ThisdiscussionisbasedonRogerA.KeyesPinkFujiThePrintHokusaiSawImpressions29200720086875. 91 92JAPANPRINTSThefrstsubwayinAsiawasopenedinTokyoin1927.ItfrstlinkedAsakusathesiteoonethecitysoldesttemplesandavibrantentertainmentdistrictwithUenothelocationotheImperialMuseumthezooandnumerousexpo-sitions.By1932itreachedNihonbashiinthecenterothecity.In1939thelineromAsakusawasjoinedwithasecondlinebuilteastwardromShibuyainthesouthwestmakingitpossibletotravelacrossthecityunderground.Thesub-wayquicklybecameassociatedwiththeconsumercultureothecity.RiderscouldenterthetwolargestdepartmentstoresMatsuzakayanearUenoandMitsukoshinearNihonbashidirectlyromthesubwayapointnotedbyKoizumiinhiscommentaryontheprint.Thisprintdepictsthreeashionablydressedwomenmostprobablyatthebackoatrainasitleavesanelaboratelydecoratedstation.TwoaredressedinkimonooneinWesternstyleallthreehavetheshorthairstylethatwaspopu-larinthecityduringthe1930s.KoizumiKishiobeganhisseriesoprintsOneHundredViewsofGreatTokyointheShwaErain1928andcompleteditin1940.InproducingonehundredviewshewasclearlymakingreerencetoHiroshigesOneHundredFamousViewsofEdoproducedattheendotheEdoperiod.Koizumisprintsdocu-menttherevivalothecityollowingtheGreatKantEarthquakein1923anditsexpansioninthe1930s.Koizumiorigi-nallytrainedasablockcarverandbeganmakingprintsonlyaterhemadetheacquaintanceosomeothepioneersotheCreativePrintMovementartistswhodesignedcarvedandprintedtheirownworks.SM21KOIZUMIKISHIOJapanese18931945SubwayinSpringHarunochikatetsufromOneHundredViewsofGreatTokyointheShwaEraShwadaiTokyohyakuzue.Shwaera1924891937WoodblockprintinkandcoloronpaperSheet15x11in.39.37x29.84cmGiftofJuliaMeechclassof1963inhonorofSamuelC.MorseSC201233japan 93 94JAPANLACQUERThissumptuouslydecoratedboxwasmadetostoredocumentsorwritingpaper.Itcombinesanumberolacquertechniquesraisedlacquertakamaki-eatlacquerhiramaki-eandtwodiferenttypesoinlayoneusingmother-o-pearlandstonesandtheotherusingaogaiblue-greenshell.Thelidisornamentedwithagroupovedeergatheredbyamountainstreamoverwhichextendthebranchesoamapletreeentwinedwiththoseoapine.Theseasonisautumnandtheanonymousartistrepresentsthechang-ingoliagebyashioningtheleavesingoldbronzeblackandaogai.Furtheremphasizingtheseasonisawillowthathasdroppeditsleavesandahollyhockwithbrightredberries.Theundersideothelidhastwointer-lockedvignettesupperlet.Theloweronecontinuestheautumnaltheme.Intheoregroundisanotherrushingstream.Mapleleavesallintothewaterromatreethatclingstoanoverhangingclifedgedwithbamboograss.Boththeclifandtherockbelowareornamentedwithinlaidstonesandsmallpiecesoaogaibrightredhollyhockberriesaddurthercolortothescene.Abovethetopedgeothecliftransormsintotherontcompoundoatwo-storystructurewithanelaboratetileroomostlikelyatemple.Inthedistancebarelyvisiblearethetileroosotwomorebuildings.Allthreestructuresaresurroundedbyamixtureobroad-leaedandconieroustrees.Autumntreesandrushingwaterdominatetheornamentationonthesidesotheboxaswell.Thisboxisttedwithatrayupperrightdecoratedwithmoreautumnalplantsandabakuamythologicalcrea-tureoChineseoriginthattraditionallyissaidtopossessesthebodyoabearthetrunkoanelephanttheeyesoarhinocerosthetailoabullandthelegsoatiger.Bakuwerebelievedtocon-sumenightmaresandthuswerethoughttobeelicitousdespitetheirbizarreappearance.SM22DocumentBoxryshibako.Edoperiod18thcenturyBlackandgoldlacquerwithmotherofpearlandstoneinlay5x15x12in.13.33x39.37x31.11cmPromisedgiftofDr.ElizabethE.Forcejapan 95 96JAPANLACQUERKajikawaBunrysaiIIwasamemberoaamilyolacquerersthattraceditsrootsbacktotheseventeenthcentury.TheyworkedprimarilyortheTokugawashogunateandothermembersothemilitaryeliteinEdo.ThenameBunrysaiwastakenbythethirdartistinthelineageaswellasbytwootherswhowereactiveromthemid-eighteenthtothemid-nineteenthcenturies.1Theyarebestknownormakinginrmedicinecaseswithmultipleinterlockingcompartments.Japaneseartistsrequentlyturnedtoclassicalliteratureorinspirationortheirworks.OneothemostpopularsourceswastheTalesofIseaninth-centurycollectionopoemswithprosepreaceswrittenbythecourtierAriwaranoNarihira823880.ChapterninedescribesthetravelsothepoetandsomecompanionsineasternJapanarromthecapital.WhentheycameuponamarshflledwithirisesandcrossedbyeightbridgesNarihiracom-posedapoemthatsuccinctlyconveyedhislongingorawomanhehadletinthecapital.WhenthefrstsyllablesoeachothefvelineswerereadinsuccessiontheresultwaskakitsubatatheJapanesewordoriris.AsaresultmanyartistsolaterperiodsincludingKajikawaBunrysaichosetoillustratethemomentbyshowingonlytheirisesandthebridges.Theplanksothebridgehavebeenashionedoutoleadtheirisblossomsareinlaidmotheropearl.SM23KAJIKAWABUNRYSAIIIJapaneseactiveearly9thcenturyWritingboxwithmotifofYatsuhashi.EdoperiodBlackandgoldlacquerwithleadinlay21x9x8in.5.39x24.76x22.22cmGiftofJoanLeboldCohenclassof954inhonorofJeromeAlanCohenSC200233adjapan1JuliaHuttJapaneseInrNewYorkandTokyoWeatherhill1997101102. 97 98JAPANLACQUERThistrayornamentedwithadramaticrepresentationotropicalshswimmingamongcoralandseaweedswasgiventhetitleTreasuresoftheSeabytheart-ist.Whilethetechniqueobuildingupmanylayersolacquerandthencarvingithasalonghistorythesubjectmatterisnottraditionalandrefectsaninter-estintheexoticthathadcapturedtheimaginationotheJapaneseintheinterwarperiod.YzeiwasbornintoaKyotoamilythathadcarvedlacquersincetheourteenthcentury.Duringhisapprenticeshiphestudiednotonlytraditionalraised-lacquertechniquesbutalsosculptureandpainting.Thisdiversetrainingisvisibleinthepictorialqualitiesohiscompositionandtherealismohisorms.Byusingblacklacquerorthecoralandplantsheimmediatelydrawsattentiontothethreegroupsocolor-ulshyetbyaddingdetailtoalltheelementstheresultisahighdegreeoillusionism.Incontrastthebackothetrayisdecoratedwithatraditionalmotiowaves.YzeireceivedrecognitionbothinsideandoutsideJapan.In1900hewonabronzeplaqueattheParisExpositionUniverselleollowedbyasecondprizeatthe1907TokyoIndustrialExposition.Thispatternwasrepeatedinthe1920swithaprizein1925attheParisExposi-tiondesArtsDcoratisandthereceiptoaprestigiousdomesticawardin1928.HisrstsoloexhibitionwasattheTakashimayaDepartmentStoreinOsakain1924tenyearslaterhehadasecondsoloexhibitionattheMitsukoshiDepartmentStoreinTokyo.1SM24TSUISHUYZEIXXToyogor.Japanese880952TreasuresoftheSea.Taishera925989923Carvedlacquerx41x5in.2.54x38.87x4.92cmGiftofCharlesDikerandValerieTishmanDikerclassof959SC20069japan1httpwww.kagedo.comcollections2KJA0222.html 99 100JAPANTEXTILESTheAinupeoplearemostlikelythedescendantsotheearliestinhabitantsonorthernJapan.Theyshowedadeeprespectornatureandlivedashunter-gatherersfshingandharvestingwildplantsandvegetables.Bytheseven-teenthcenturytheyhadbeenpushedromthemainislandoHonshandresidedonlyinHokkaidtheKurilIslandsandSakhalin.TheAinuhadlittlecontactwiththeoutsideworldtradingprimarilywiththeMatsumaeclanwhocontrolledthesouthernendoHokkaid.ThroughouttheEdoperiodtheTokugawashogunatein-creaseditscontrolovertheresidentAinupopulation.AtertheMeijiRestorationin1868colonizationoHokkaidincreasedrapidlyandtheAinulostallindependence.AsaresultmanyintermarriedwithJapaneseandtheygaveuptheirtraditionalwayolie.AinuartwasdiscoveredbytheJapaneseandWesternersinthenine-teenthcentury.Mostowhattheymadewerehouseholdobjectsdecoratedwithsimplecarveddesigns.Themostelegantobjectsweretextilesmaderomelmbarklindenoranettle-likeplantUrticathunberaianableachedinthesnow.CottonandsilkwereacquiredromtheJapaneseorromthecontinenttouseasappliquandembroideredornamentation.AsRobertMoestheormercuratorotheBrooklynMuseumwritesWhilethepatternsarealwayssymmetricalbecauseofthefree-handmannerofworkandtheshapesofthedesignsthemselvestheyareneverstatic.Onthecon-trarythevariationsonthetradi-tionalmotifsofspiralsmoreauthornsandbracingsseemalivewithmovement.1ThisrobewithindigostripesandindigodyedcottonclothappliquembodiesthedesignprinciplesthatMoesdescribes.Itisinparticularlyfneconditionwhichhighlightsthecontrastbetweentherichbluesandthebleachedbarkground.SM25Robe.AinupeopleSakhalinIsland.Late19thcenturyNettlefberwovenwithindigostripesindigodyedcottonclothappliquShoulderlength49in.125.73cmarmtoarm53in.136.52cmGitoValerieTishmanDikerclasso1959andCharlesDikerSC200866-41RobertMoesMingeiJapaneseFolkArtNewYorkTheBrooklynMuseum1985184.ThisdiscussionisderivedromAnnePikeTayAinuArtiactsinMingei17577.japan 101 102JAPANTEXTILESjapanTokyointhe1920sand1930swasaplaceogreatoculturalhybridity.In-uencesromEuropeandtheUnitedStatesowedintothecitywithunprec-edentedrequency.Itsresidentsdidnotacceptoutsideculturalormsuncriti-callyhoweverbutadaptedthemtoJapanesetasteandwaysolie.ThemostashionablepromotersoWesternmannerswereknownasModernBoysandModernGirlsandtheyrequentedtheGinzaadistrictdistinguishedbyitsdepartmentstorescasdancehallsandbeerparlors.SomeotheModernGirlsdressedinaWestern-inectedmannerthosewhoavoredJapaneseashionabandonedkimonoswithtradi-tionalpatternsandintheirplaceotendonnedrobeswithboldgeometricdesignsinbrightcolors.ThetypeokimonothatwaspreerredbytheMod-ernGirlsisgenerallyknownasmeisenplain-weavegarmentsorawsilkwithstencil-dyedwarpsandwets.Therobesresembledikatbutcouldbemadequicklyandsoldcheaply.Inactmeisenweresomeotherstready-to-wearkimonoproducedinstandardsizesandsoldoftherackindepartmentstoresandothershopsthattargetedTokyosever-expandingpopulationoconsumers.SM26Meisenkimonowithgeometricdesign.TaishShwaera192040SilkShoulderlength62in.158.11cmarmtoarm50in.128.27cmGiftofJuliaMeechclassof1963inhonorofSamuelC.Morse 103 104JAPANMETALWORKjapanAtearoomhastwomajorocalpoints.Thevisualocusisthealcoveadornedwithahangingscrollandafowerarrangement.Theunctionalocusisthehearthorbrazierwithanironkettletoboilwaterorthepreparationotea.Uponenteringthetearoomtheguestisexpectedtorstexaminetheobjectsinthealcoveandthendirectattentiontothekettlewhichiseithersetintothefoororplacedonaceramicormetalbrazier.Thesoundotheboilingwaterisrequentlylikenedtothatothewindblowingthroughpinesandprovidesasubtlebackdroporthepreparationotea.TherstkettlesmadeinJapanweretoboilwaterorthepreparationoteaatZenmonasteries.Bytheteenthcenturykettlesortheteaceremonywerebeingmadeatanumberoloca-tionsaroundJapanincludingKyoto.Thetermshinnaridesignatesthemoststandardtypeokettlethoughttohavebeenusedtoboilwaterbeoretheadventotheteaceremony.Shinnarikettlesarecharacterizedbytheirbroadproleandthegentlecurveromthemouthtotheshoulders.ThiskettlecastbyNagoshiJmiVIamemberoanillustriousamilyokettlemakersromKyotohasbeenashionedwithaprotrudingfangebetweenthesidesandbasesothatitcanrestdirectlyonthemouthothebrazier.Itssuraceisornamentedwitharegularpatternonumerousraiseddotsdescribedashailstonesintheteatradition.Korean-stylebraziersarecharacterizedbythedramaticreductioninsizeromthewidemouthwhichsupportsthekettletothreeclosely-spacedeet.Kettlemakersalsomadebraziers.nishiJgenIwastherstartistinalineokettlemakersdirectlyassociatedwiththeSenamilyoteamasterswhichtraceditslineagebacktoSennoRiky15221591.SM27NISHIJGENIJapanese16891762Korean-stylebrazier.Edoperiod18thcenturyPolishedbronzeNAGOSHIJMIVIJapanesed.1759KettleoftheShinnaritype.Edoperiod18thcenturyIronwithpolishedbronzelidOverallwithbrazierheight13in.43.92cmdiameter12in.31.11cmGiftofPeggyBlockDanzigerclassof1962andRichardM.Danziger200817-4ad 105 southasiahimalayasANDTHE 108SOUTHASIAANDTHEHIMALYAYASBUDDHISTARTThisscenecarvedinhighreliedepictsthetimeinthelieotheBuddhawhenasPrinceSiddharthaheiscontem-platingrenouncinghisroyalheritageascrownprinceothekingdomotheShakasinordertoseekthetruthconcerningsuferingintheworld.Specicallyitrepresentsatimejustpriortohisactionorenunciationbyleavingthepalaceandabandoninghisworldlyheritage.HereSiddharthaisseatedinapostureocontemplationonthesideothebedashiswieYashodasleeps.Twoattendantsstandnearbyandtwomusicianssitinthecorners.Theyindi-catethecircumstancesohislavishliestylewhichwasamouslyprovidedbySiddharthasatherthekingwhotriedtokeephissononthepathtowardroyallineageratherthanbecomingaBuddhaorenlightenedoneachoicethatwasoretoldatSiddharthasbirth.Itisraretoseethisparticularcontem-plativepostureusedorSiddharthainGandharanscenesotherenunciation.ThisreliecomesromthetopportionoagablethatoriginallyadornedaBuddhiststupaintheancientregionoGandharanorthernPakistan.AsmonasteriesprolieratedinGandharaduringtheKushanadynasticperiodstupasthemainobjectoworshipatthistimeinBuddhistmonasteriesbecamemoreelaboratelydecoratedwithsculpturalrelies.Intheearlierphasesc.rstsecondcenturyCEthesereliesprimarilyocusedondepictingtheeventsotheBuddhaslie.Thegablewasplacedonthesoliddomethatroseromthesquarebaseothestructure.Usuallyonegablewasplacedateachotheourcardinaldirectionsandcomprisedvariouslevelsorelies.Herethesceneisromthelevelotherooeaves.Bird-headorna-mentscurloutromtheendstwobirdssitatopthecurvedsideotherootopandclustersoruitpossiblygrapeshugeachsideotherectangularcanopyoverthecentralgures.Abandoleavesappearsatthebottomseparatingthisrelieromthelargermainpartothegablenowmissingbelow.MR28PrinceSiddharthasRenunciation.GandharaNorthernPakistan.Kushanadynastyc.st3rdthirdcentury2ndcenturyGrayschistOverall71x86x2in.8.09x45.87x7.30cmGiftofIvanB.HartSC9589southasia 109 110SOUTHASIAANDTHEHIMALYAYASBUDDHISTARTInthistangkapaintingromEasternTibetShakyamuniBuddhaappearsinthecenterwithtwostandingmonksShariputraandMaudgalyayanarep-resentingthewisdomandmethodlineagesoBuddhistpractice.Shakya-munisearthwitnessgesturemudraisindicativeohisenlightenment.Inhislethandheholdsthemonksbowl.Anarrayohalosramedbyvari-coloredcloudscreatesabrilliantmandorlabehindhimashesitsinayogicpostureonanelaboratelotuspedestal.Asmalloferingtableisplacedinrontohim.Therobespedestalandhalosarerichlyandmasterullygilded.SurroundingthelargecentralgroupisadensearrayoscenesdepictingShakyamunislie.Theyareportrayedwithoutchangeoperspectivebuteachdiscretesceneisclearlyseparatedbydarkgreentreeshungwithjewelsorbycloudsandhills.Thescenesarepresentedonatiltedplaneandarear-rangedrombottomtotopwithinavividlandscapeodominatinggreenwithgoldoutlinesmodelingthehillsastylederivedromChineseBuddhistpaintingotheeighteenthcentury.Buddhaslieunoldsinvemainsec-tionsinclockwiseorderbeginningatthelowerletwiththebirthsequenceQueenMayainwaitingisollowedbythebirthassheholdsontothelimboatree.TheinantBuddhaisnotdepictedbutinterestinglyseemstobemysticallyimpliedbyalittleshrine.Intheupperletcornerarescenesintheroyalpalace.ThethirdgroupshowsSiddharthasrenunciationascrownprincebycuttingofhishairandintherightcornerhismeditationandnaltriumphindeeatingillusionandachievingenlight-enmentasBuddha.Downtherightsideappearthreeepisodesromhisteachinglieandinthenalgroupatthebottomareeventsohisparinirvana.IngeneralthecompositionandgurestylederiveromtheNewMenrischoolopaintingusedprominentlybytheGelukpaOrderromtheseventeenthcentury.ThespreadoTibetanBud-dhismtoChinaandMongoliaintheeighteenthandnineteenthcenturiesbythisorderstronglyinuencedtheartotheAmdoandMongolianregionsthepossibleprovenanceothistangka.MR29ShakyamuniandScenesfromHisLife.TibetprobablyAmdoEasternTibet.Firsthalfof19thcenturyTangkapaintingmineralpigmentsonsizedcottonmissingtheclothmountsandwoodendowels26x18in.66.67x46.99cmBequestofHenryL.SeaverSC197654-438himalayas 111 112SOUTHASIAANDTHEHIMALYAYASPAINTINGTwowomensitacrossromoneanotherconversingonanopenterrace.Theireaturesanddemeanorindicatesome-thingothenatureotheconversation.Theyoungwomanbendsslightlyorwardrighthandrestingonheruprightkneeasitoshareasecretwithanelderlycon-dantewhopointsangertoherlipsinagestureoastonishment.IneroticpoetryonwhichthecourtpaintingsoRajasthansuchasthisonewerebasedacondanteisago-betweenorlovers.TheRasikpriyaoKeshavdas15551617recommendsaclassoexperiencedwomenorthispurposeamaidservantaaithulnurseabarbersspouseawomanrecluseandsoon.Inthispaintingthematurityaswellaslowerclassosuchacondanteiscom-municatedinherbody.WhiletheyoungwomansroundaceinproleaswellasherarchedeyebrowandnarrowwaistaccordwiththepictorialconventionsoremaleormincourtpaintingsoRajasthantheshriveledwashed-outel-derlygureindicatescloseobservationothenaturalandsocialworldinwhichthepainterlived.TheaviduseonaturalismindicatesthatthispaintingbelongstotheRajasthanicourtoBikanerwhoseartistslookedcloselyatimperialMughalpaint-ing.MughalartistswerethersttoincludeFlemish-stylenaturalismintheirPersianidiomusingillustratedBiblesprintedinAntwerpandbroughttoIndiabyJesuitpriestsinthesixteenthcentury.BikanershybridstylerefectsthatcourtsclosealliancewiththeMughalsandassistanceinMughalmilitaryexpeditionsintheDeccanregionoSouthIndia.Elongatedguresandapaletteomauvepurplewine-redandsalmonbringBikaneristyleclosertoDeccanipaintingsanddistinguishitromthestockyguresandspritelypaletteobrightorangecobaltblueacidyellowandterrevertecommoninotherRajasthanistyles.Surprisinglythearchitectureinthisscenedoesnotprovideathree-dimensionalspatialsettingorthenaturalistically-renderedguresinsteadrectangulararchitecturalshapesturnthecomposi-tionalgriditselintoasolidorm.Inthispaintingthepavilionontheletandthehorizontalterracewallbehinditmarkthechiecoordinatesothegridlocatingthewomeninthelowerrightquadrant.Chalk-whitewallscontrastwithvelvetydetailsorolled-upcurtainsandcarpets.CrisplinesmakethearchitecturestandoutagainstthereelypaintedindigoskyandhillsconveyingthespiritoexperimentationorwhichtheBikanericourtpaintersbecomedistinguishedbythelateeighteenthcentury.1AS30MistressandConfdanteSeatedonCarpetinCourtyard.RajasthanprobablyBikanerIndia.c.late8thcenturyOpaquewaterbasecolorsandgoldonpaperSheet716x05in.43.33x2.98cmBequestofJohnKennethGalbraithSC200741ReerencesconsultedorthisentryincludeShananeDavisBikanerSchoolUstaArtisansandTheirHeritageJodhpurRMGExports2008CatherineGlynnBijapurThemesinBikanerPaintinginAndrewTopselded.CourtPaintinginRajasthanMumbaiMargPublications2000andNavalKrishnaTheUmraniUstaMaster-PaintersoBikanerandTheirGenealogyinAndrewTopselded.CourtPaintinginRajasthanMumbaiMargPublications2000.southasia 113 114SOUTHASIAANDTHEHIMALYAYASPAINTINGHorrorunoldsinthecentralpanelothisalbumpainting.Fourcaparisonedelephantsgoadedbydriverschargeintoanopeneldattackingprisoners.Attheupperlettwoprisonerssurroundedbyofcialsawaittheirturnunderthegal-lows.Totherightothisgroupatuskerdescendsontwocoweringprisoners.Anotherinthecenterothecomposi-tionhavingcrushedtwomenlitsathirdmaninitstrunk.Theelephantatthelowerrighttramplestwomoreprisonersandskewersathirdwithitstusk.Theourthelephantentersthepictureromthelowerletandtreadsonamansspine.Aboveitamauledprisonerissplayedlikeastar-shonthegroundwithlimbspointingtowardthearrayoviolenceacrosstheeld.Thebloodyexecutionisintendedasapublicspectacletobewatchedbycourtiersonthecrestothehill.ThepaintingisadirectcopyoalearomtheAkbarnamaTheBookoAkbartitledTrainedElephantsExecutingtheFollowersofAliQuliWhileMirzaMirakMashhadiWasSparedc.158687nowintheVictoriaandAlbertMuseumIS2901896.Whiletheoriginalpaintingbelongedtoamanuscriptcom-missionedbytheMughalemperorAkbar15561605thecopyisastand-alonealbumpicturemuraqq.BlocksoPersianinscriptionscapturethevoicesomultiplewitnessestothescene.Thetopmiddlepanelreadslikeaverdictonbehalotherulerorof-cialorwhomthesceneisstagedTheheadoeachbranchisinclinedtobekilledbyyou.ThecentralbottompanelcelebratesthepatronEveryrosesreshnessensuesromthegenerosityoyourragrance.Bycontrastacou-pletconnectingtherightandlettoppanelsinsertsatoneosilentlamentThemusiciansbeganahiddensoululcryinanswertotheminstrelintheveilosecrecy.Thebottomsidepanelscontinuingromrighttoletconveyastonishmentpossiblyaboutanarrowescapeinarst-personvoicepresum-ablythepatronsMygodWhatgoodortuneIhadlastnightbyremainingawaketotheluckinmyembraceTheconictingvoicessuggestasub-imperialcommission.TheinscriptionontheversowritteninabeautiulcursivestylecallednastaliqseemsunrelatedtotheimageryintherectoandisattributedtoacertainShirinQalamSweetPenatitleoramouscalligrapherswhosewrittenspecimenswerealsopurchasedseparatelyandreusedorpaintingsinMughalIndia.1AS31ElephantExecutionofPrisonersrectoPagewithCalligraphySamplesverso.India.Mughaldynasty52858probablyearly9thcenturyOpaquewaterbasecolorsandgoldonpaperSheet16x8in.40.79x22.54cmGiftofMr.andMrs.JohnKennethGalbraithCatherineAtwaterclassof934SC98272southasia1TheauthorthanksJohnSeyllerorsharinghisexpertiseonMughalpaintingandSunilSharmaortranslatingthePersianinscriptions.ReerencesconsultedinthepreparationothisentryincludeAshokKumarDasTheElephantinMughalPaintinginSomPrakashVermaed.FloraandFaunainMughalArtMumbaiMargPublications1998andBarbaraSchmitzed.AftertheGreatMughalsPaintinginDelhiandtheRegionalCourtsinthe18thand19thCenturiesMumbaiMargPublications2002. 115 A19502013TO 81950TO2013PAINTINGANDDRAWINGTangMulibeganpaintingattheageosixandreceivedhisrstinternationalawardwhenhewastwelveyearsold.SchoolswereclosedduringtheCulturalRevolution6676andTangwasassignedtoworkinadairyarmcom-muneoutsideoBeijingandsubse-quentlyasadesignerortheShanghaiagriculturalexhibition.Hehonedhisartisticskillsbypaintingmodelrevolu-tionarycompositionssuchasTheYoungBugler.ThispaintingdepictsagroupoyoungpeopleengaginginLalianwhichmeanspullouttodrill.WhenrelationswereailingbetweenChinaandtheor-merSovietUnionduringthelate6sandearly7sofcialpolicydictatedthatrotatinggroupsociviliansbemus-teredintoregimentstoengageinlongeldmarchesthroughthecountryside.TheYoungBuglerwasbasedondrawingsTangexecutedduringhisLalianin7anddisplaysakeymemorablegureromhisexperiencethebuglerwhoreg-ulatedthedailyroutinesothemarch.AtertheCulturalRevolutionendedandtheartcollegesreopenedin7TangMuliwasadmittedtothemastersprogramattheCentralAcademyoFineArtsinBeijing.HewonaChinesegovernmentscholarshiptostudyabroadin8andnallysettledinMontrealCanadawhereheisactiveasaportraitandlandscapepainter.AJG32TANGMULIBornChina1947TheYoungBugler.1971Oiloncanvas39x28in.99.06x71.12cmGiftofAndrewKimandWanKyunRhaKimclassof1960SC200440-8TangMuliMyMemoryoTheYoungBuglerDecember8unpublisheddocumentSCMAcuratorialles.19502013to 119 1950TO2013PAINTINGANDDRAWINGAtergainingadmissiontotheCentralAcademyoFineArtsinBeijinginthemid-sYuanYunshengdeviatedromtherigidCommunistParty-linedictatesonart.Insteadopaintingmas-sivemuscularsocialist-realistheroeshisgureswereelongatedandgraceul.InApril7MaobegantheHundredFlowersCampaignbyinvitingintellectu-alstoexpresstheirsuggestionsandcriticismstotheChineseCommunistPartywithoutearoreprisal.Letahundredowersbloomandahundredthoughtscontend.LessthansixweekslaterheissuedadirectivethatwouldbegintheAnti-RightistCampaigntopurgethoseallegedlyholdingopinionstotherightotheparty.InaninormalconversationwithellowstudentsYuanwasoverheardcondemningStalinist-stylesocialistrealismtheofcialstyleoartinChina.YuanwasbrandedaRightistorhiscomments.BecausehereusedtoconesshiserrorshewassentoutoBeijingorlaborandreedu-cationortwoyearsandthenallowedtoreturntotheCentralAcademyoFineArtstograduatein6.Hispost-graduateworkassignmentwasteachingworkersinalocalculturalpalaceinremoteChangchunEverSpringthecapitaloJilinProvincewherehewasseparatedromhiswieandthreechildrenoralmostsixteenyears.In7YuanreturnedtoworkonWater-sprinklingFestivalSonginPraiseofLifeamuralorthediningroomothenewBeijingairport.AshissubjecthechosetodepicttheDaipeopleinsouth-westernYunnanProvincecelebratingtheWaterFestivalwhichoccurseachAprilatthebeginningothehotseason.Spanningtwowallsthemuralhadalushlandscapepopulatedbyguresthatincludedtwowomenbathing.Thenudescausedagreatscandal.Authori-tiesrstcurtainedothenudesthenwalledoverthemural.Onlyin86atertherestaurantwasboughtbyaprivateentrepreneurwasthemuralagainrevealedtopublicview.AJG33YUANYUNSHENGBornChina1937NudewithTwinBabies.October1979InkandacryliconpaperSheet39x40in.100.33x101.60cmGiftofJoanLeboldCohenclassof1954andJeromeA.CohenSC200759-30ThisentryisbasedonabiographyotheartistbyJoanLeboldCohenintheexhibitioncataloguePost-MaoDreaming.19502013to 121 1950TO2013PAINTINGANDDRAWINGTocelebratethelongrelationshipoSmithandGinlingCollegeGinlingsalumnaeassociationgaveSmiththispaintingdepictingGinlingsmaincam-pus.DingZhanaNanjingartistwhotaughttraditionalinkpaintingatNanjingNormalUniversitywasinvitedtopaintthisimageothemaincampuswhichconsistsosevenmajorbuildings.Thesocialandathleticbuildingislocatedtothewestpicturedasthetopbuildinginthescrollankedbytwostudentdormitories.Theyareconnectedbycoveredwalkwaystootherbuildingsinthecourtyardincludingthescienceandchapelbuildingstothesouthandtherecitationandlibrarybuildingstothenorth.FoundedbyveAmericanChristianmissionaryboardsGinlingCollegeopeneditsdoorstostudentsinandsoonbecamethemostinuentialwomenscollegeinmodernChina.InMatildaC.Thurston878therstpresidentoGinlingCollegeandagraduateoMountHolyokeCollegeclasso86commissionedtheAmericanarchitectHenryMurphy8774todesignGinlingsnewcampus.MurphywaslaterhiredbyChiangKai-shektotransormoldNanjingintoamoderncapitalortheRepublicoChina.MurphyandhisarchitectsadaptedChinesetraditionalarchitecturalstylesandcompositionsandincorporatedChristiansymbolsandBeaux-Artsprinciples.FinishedinthisbuildingcomplexbecameoneoNanjingsarchitecturallandmarksandisnowpreservedasanimportanthistoricalheritagesiteinChina.FormorethanthreedecadesSmithCollegewasasupporterandmodelorGinlingCollegeprovidingitwithnan-cialandacademicsupportuntil.EnthusiasticSmithalumnaeinstalledaGinlingrepresentativeineverySmithclubinAmericaandcontributedatleastone-ourthoGinlingsoperatingbudgetoryears.SmithalumnaealsoraisedtocovertheentirecostothesocialandathleticbuildingthecentralbuildingonGinlingscampuspicturedhereinaphotographrom.FZ34DINGZHANChinese19412000GinlingCollegeCampus.1983HandscrollinkandcoloronpaperScroll27xin.6.72x139.70cmimage25x41in.6.08x104.14cmGiftoftheAlumnaeAssociationofGinlingCollege1983transferredtotheMuseumSC20122OldGinlingCollegewaspartlyincorporatedintoNanjingNormalUniversityinwhenitwasclosed.In87GinlingCollegewasreoundedonitsoriginalsitebyNanjingNormalUniversity.JefreyW.CodyStrikingaHarmoniousChordForeignMissionariesandChinese-styleBuildings4Architronic.66.EllenWidmerTheSevenSistersandChinainDanielH.BaysandEllenWidmereds.ChinasChristianCollegesCross-CulturalConnections19001950StanordStanordUniversityPress8788.19502013to 123 41950TO2013PAINTINGANDDRAWINGThegitromJeromeandJoanCohenonearlyortyPost-Maoandcontem-poraryChinesepaintingsmarksanextraordinaryadditiontotheAsianartholdingsotheMuseumseealsocat.nos.and4.TheCohenswereamongtherstAmericanswhotrav-eledtoandlivedinChinasoonatertheCulturalRevolutionandthusbecameriendswithmanyartistsyoungandold.Thepaintingsintheircollectionmainlycreatedinthe8sandsrepresentworksoseveralgenerationsoChineseartistsandtheirefortstorevivetraditionalstylesandexplorenewartisticorms.IntheU.S.theCohensalsobecameriendsomanyChineseartistsintheUnitedStatesincludingGuWendaandAiWeiweiwhohavebecomeinuentialtrendsettersinthecontemporaryartworld.GuWendaisconsideredoneoChinasmostcreativeartistsothe8s.HeimmigratedtotheU.S.in87wherehisideasbegantoattractinternationalattention.RockinRockisarepresentativeworkreectingatransitionalmomentinhisartwhentheartistmadeaboldmoveawayromtraditionalChineseinkpaintingtoexplorenewormsandnon-conventionalmaterials.Paintedinthemanneroatraditionalinkpaintingthisabstractworkcanbereadasalandscapewithrocksstandingupright.Buttheseormsmayalsosuggestbodypartsorsexualorgans.Theverticalstriationsinthelowerhalothepaintingresembleinterwovenhair.GuwouldsoonndinspirationromthecombinationobodymaterialandberarttolaunchhisamousongoinginstallationseriestheUnitedNationsinwhichheusedhumanhairtocreatevariousworksthatcallorthegrowingsel-awarenessoregionalismandotherness.FZ35GUWENDABornChina19RockinRock.1989Inkontwosheetsofjoinedpaper295x7in.7.24x146.68cmGiftofJoanLeboldCohenclassof194andJeromeA.CohenSC20079-31JuliaF.AndrewsArtistsoChinasReormEra7intotheMillenniuminPost-MaoDreaming7.19502013to 125 61950TO2013PAINTINGANDDRAWING36HUNGLIUBornChina1948TheJudgmentofParis.1992OilonthreecanvaseswithlacqueredwoodboxOverall72x96x4in.182.88x243.84x12.06cmGiftofRenaBranstenclassof1954SC20048a-dInterviewwithHungLiuSECAArtAwardHungLiuJohnBeechMariaPorgesSocietyortheEncouragementoContemporaryArtSanFranciscoMuseumoModernArtunpaginatedandArtistsStatement7httpkelliu.com.HungLiuArtistStatementorHungLiuMuseumoArtandScienceBrevardNovemberFebruaryhttpartandscience.orghungliu.htmlLetterromRenaBranstentoAprileGallantJanuary84SCMAcuratorialles.4LetterromRenaBranstentoLindaMuehligAprilSCMAcuratorialles.HungLiuwasborninChangchunChina.AtthebeginningotheCulturalRevolutionshewassentasayoungwomantothecountrywheresheworkedintheeldssometimestakingcareohorseswhilesecretlycontinuingtodraw.AterearningagraduatedegreeinmuralpaintingattheCentralAcademyoFineArtsinBeijingshecametotheUnitedStatesin84topursuegraduatestudiesattheUniversityoCaliorniaatSanDiego.ChinesehistoryisthesubjectoherworkandthoughshenolongerbelievesinasocialistutopiansocietyundamentalChinesevaluesandideolo-gieshaveremainedwithher.InTheJudgmentofParisLiuposestwodiferentconationsoEastandWestbothinvolvingmalegazeandchoice.InthecentralcanvasLiuhaspaintedaversionoaQingdynastyexport-warevaseeaturingthestoryoaGreekmythabeautycontestamongthegoddessesAthenaAphroditeandHerajudgedbythemortalParis.WhilesuchwareswereproducedinChinawithWesternsubjectstoappealtoWesternbuyersthebodyothevasedoubledwithtwolidsisactioncreatedbyLiu.Thisdoublingreersinormtoemalebreastsandtotheguresotwoyounggirlsintheouterpanelsbasedonphotographsoprostitutesromanarchivetheart-istdiscoveredinBeijingin.ImagesoyoungprostituteswereproducedbyChinesephotographersortheirChi-neseclientsinthelatenineteenthorearlytwentiethcenturyusingcamerasimportedromtheWest.AsLiuhaswrit-tenTheyrepresentthewayChinesewereseenromtheWestandthewaysuchaperceptionwasinternalizedbytheChinesethemselves....Theequationisalwaysthesamewomanasobject.Inthiswaytheprostitutesweremadetoappealtothecustomersdesiretoas-sociatehimselwiththeaccoutermentsoWesternCivilization.AccordingtoSmithalumnaandgalleristRenaBranstenwhogavethispaintingtotheMuseumthesmallpinkopen-endedboxinsertedintothemiddleothevaserepresentsanopeningtolookintoChinaandasurprise-Dobjectwhichnotonlyinterruptsthesuraceothepaintingbutalsoextendsthepainting....4LM19502013to 127 81950TO2013PAINTINGANDDRAWINGYasukiMasakosThePresenceBetweenThingsisoneothreeworkspurchasedbytheMuseumromobjectsshowninSCMAs4exhibitionConfrontingTraditionContemporaryArtfromKyotoseealsocat.nos.4and.AtthetimeotheexhibitiontheworkotheyoungpainterYasukiMasakohadrarelyieverbeenshownintheUnitedStates.ThePresenceBetweenThingsbelongstotheartistsseriesothesametitlewhichdealtwithJapanesecitiesthatwerebombedanddestroyedduringWorldWarII.AccordingtotheartistIstartedthisseriestorepresentsomesortogapbetweenhistoricalimagesorknowledgeandmemory...andthephysicalworldwereallyacetheactuallandscapeinrontous....GraduallythoughIstartedusingmoreexplicittitlessuchasobliteratedground.Althoughthecityscapesinthisseriesarebasedonactuallocationstheartistchoosesnottoidentiythem.TheMuseumspaintingisconstructedromtheartistsmemoryoaviewromahillaboveastrategictargetoU.S.airraidsandphotographsothecitytakenaterthewar.Shealsousedrottageasshesayscopyingthelanditselontosheetsopaperbyrubbingtheactual...cityasphaltgroundwithchar-coal.Iincorporatedtheseimagesintothepaintingaswell.Sothepaintingwassetupbyatleastdiferentlayers.BuildingsandarchitectureemergeanddissolveinthedappledsuraceothisandotherlandscapesbyYasukiwhichotentaketheormoatriptychremi-niscentotraditionalJapaneseoldingscreens.4InThePresenceBetweenThingsroadstransectthepaintingcreatinggridpatternsandadiagonalcoursingromthelowerlettotheupperright.Theimageiselusivereadingasanalmostrepresentationalnightscapelitbythou-sandsolightsandatthesametimeasabstractpatterning.TheartistusesacombinationoJapaneseandWesterntechniquesandmaterials.MorerecentlyherworkhasincludedpaintingsongoldleaandbluewaterscapesthatevokeMonetsNymphaspaintings.LM37YASUKIMASAKOBornJapan1970ThePresenceBetweenThings.2001TemperaandoiloncanvasmountedonthreewoodpanelsOverall78x117in.200.02x299.08cmeachpanel78x39in.200.02x99.69cmPurchasedwiththeJanetWrightKetchamclassof1953AcquisitionFundSC200449a-cThePresenceBetweenThingswasalsothetitleoYasukisexhibitionatGalleryTETokyoin.EmailromtheartisttoLindaMuehligJuly7.EmailromtheartisttoLindaMuehligJuly.AlthoughtheartistdoesnotintendherlandscapestoberecognizablesitesshehassharedwiththeMuseumthatthecitydepictedinThePresenceBetweenThingsisHamamatsuwhichwasdestroyedbyU.S.andAlliedbombingraidsinsummer4.ThecitywasarequentmilitarytargetwherearmamentsactoriesamajoraireldandaightschoolortheJapaneseArmyAirForcewerelocated.Itwasalsoabombdumpinggroundorightsreturningtobase.4SamuelC.MorseYasukiMasakoinConfrontingTradition4.19502013to 129 1950TO2013PAINTINGANDDRAWINGSairaWasimtrainedattheNationalCollegeoArtinLahorePakistananartschoolwellknownsincethe8soracreativerevivalotheminiaturepaintingstylethatfourishedinSouthAsiaduringtheMughaldynasty.TheLahoreexperimenthasproducedinter-nationallyacclaimedartistswhoreusetheMughalstyleorcontemporarypurposes.Buzkashigoat-grabbingthetitleothispaintingisasportotheroughtribalregionoNorthwestPaki-staninwhichgroupscompetetobringagoatcarcasstoafagpoleattheendoanopeneld.WasimusesthesportasametaphororthepoliticsomodernPakistanwhichhavebeenmarkedbyaseriesomilitarydictators.JustasMughalemperorswerecelebrat-ediniconicpaintingsherecurtainsaredrawnasidetorevealPervezMusharrathepresidentoPakistanromto8kneelingonagoldenthronehoweverinthiscasehedoesnotpresideoveragrouporespectulcourtiersbutaclownishgroupomilitarygeneralscarryingthetrophygoat.Thecoppersunabovehimlooksmenacing.ThecurtainsaredecoratedwithphallicmissilesandstarsvaguelyresemblingthoseotheAmericanfagwhiletheorangebolsteroMusharrasthroneisembroideredwithquestionmarks.ThepresidenthasourarmsasihewereaHindudeityinmilitaryuniorm.Hisattributesandhandgesturescommunicatethegurescontradictorynatureinonehandheholdsawrestlersmaceinanotherheholdsaballoonandmakesapeacesignandamilitarysalutewiththeothertwo.Twoonlookersareshownattheloweredgeothepaintingbearingwitnesstothesceneasistypicalocourtpaint-ingsotheMughalEmperorShahJahan6868.HerethewitnessesarethepresidentsrivalsattheletQaziHussainAhmadpresidentotheMuslimpoliticalpartyJamaat-e-IslamiPakistanisshowndressedinatigerskinandattherightnuclearscientistDr.AbdulQadeerKhanwearsabearskin.UnlikewitnessesinMughalpaint-ingswholegitimizetheemperorsrighttothethronethereligiousundamen-talistandthescientistarelockedinaheateddebatepossiblyoverthedubiouslegitimacyothedictatorortheutureoPakistan.AS38SAIRAWASIMBornPakistan1975BuzkashifromtheseriesMusharaf.20032004GraphitegouacheandgoldonwaslipaperSheet11x7in.27.94x17.78cmimage10x6in.25.40x16.51cmPurchasedwiththeJosephineA.Steinclassof1927Fundinhonoroftheclassof1927SC200425ReerencesconsultedorthisentryincludeVirginiaWhilesArtandPolemicinPakistanCulturalPoliticsandTraditioninContemporaryMiniaturePaintingLondonNewYorkTaurisAcademicStudiesandHamadNasaret.al.KarkhanaAContemporaryCollaborationRidgeeldCTAldrichContemporaryArtMuseumLondonGreenCardamom.19502013to 131 1950TO2013PAINTINGANDDRAWINGPainterJihaMooncombinesreerencestotraditionalAsianlandscapeswithimagesandiconsminedrompopularculturetocreatecross-culturalmind-scapes.MoonsFabulousFictionserieso7beganasawayotellingstoriesorablesthataccordingtotheartistgeneratedmythicnarrativesotheirowninfuencedbyherownresearchandbyherexperiencemovingtothiscountryromSouthKorea.Moonusuallybeginsbyworkingspon-taneouslybuildingthelayersopaintwhilesearchingorinterestingspacesandshapes.DepartingromherusualpaletteoforidcolorsMoonplannedtherichbutsubduedbackgroundoComfortZonetoevokeRenaissanceetchingsorsepiadrawingswithDrerRembrandtandevenHieronymusBoschinmind.Theabstractaspectothepaintingiscounteredbydetailshiddeninsmallerspacesacharacteris-ticotraditionalAsianlandscapesthatinterestsMoon.BubblesanimalshapesanddetailsquotedromtheKoreannationalfagwhichtheartistusestocreateherownsymbolsareseededinthecomposition.Theartistuseswhatshetermsastandslowbrushworktosuggestwindwaterandotherelementsonature.Calligraphiclinesandobjectsinusedwithjoyulenergyaredrawnwithadetinkpenonhand-madehanjipaper.Theviewerisreetointerprettheworkasheorshewishes.LM39JIHAMOONBornSouthKorea1973ComfortZonefromtheFabulousFictionseries.2007Inkandacryliconhanjipaperovercanvas30x24in.76.20x60.96cmPurchasedwiththeArtAcquisitionFundSC200855Artistsstatement4httpthinkingaboutart.blogs.comart200407the_work_of_jih.html.Seealsocat.no.ComfortZoneinMovement8.EmailromtheartisttoLindaMuehligMay.Ibid.TheartistdoesnotintendthetitletobeareerencetothecomortwomenoWorldWarIIwhowereorcedintoprostitution.19502013to 133 41950TO2013SCULPTUREYurikoYamaguchibegancarvingwoodsculpturesduringgraduatestudyattheUniversityoMarylandwhereshere-ceivedherMFAin7.Herlarge-scalesculpturalassemblageOrigin1wasacquiredbytheMuseumatatimewhentheartistsworkwasnotwellknownoutsidetheWashingtonD.C.areawhereshestillresides.Itisanearlyworkconcernedwithnaturalmaterialsandprocessesbirthdeathgrowthwan-ingandwithintensivehand-workingoitssculpturalormswhichwerecarvedromwoodandthenburnishedandsmoothed.Itorecasttheundamentalandresonantthemesolieanddeathandinterdependenceandrelationshipthatherworkcontinuestoaddress.TheartistrecallsthatOrigin1wasconceivedduringanillnessveyearsaterthebirthohersonandthedeathoheratherin84.Thoughtsaboutthephilosophicalandphysicalaspectsotheliecyclebegantotakeshapeintheormsshecarvedandassembledplusandminussignsoryinandyangwiresspreadingacrossthecentralelementtosuggestcelldivisionseed-likeandsproutingormstosymbolizebirthchangeandgrowthandaboatorcofnshapecenterletsuggestingpassageanddeath.FourglassjarswithsmallsculpturesinsideconatethemesolieanddeathandareassociatedintheartistsmindwithEgyptiancanopicjarsinwhichorgansothedeceasedwereplacedandpreservedandalsowithtesttubebabies.BelowthejarstheupanddownmotionoawirestrungatintervalswithsmallspheressymbolizesheartbeatsandattherighttheloopingcarvedormisassociatedwithDNA.InYamaguchiembarkedonanambitiousprojectentitledMetamorpho-sisinwhichsculpturalcellsresemblingcomponentsoOrigin1werecarvedoveraperiodoyearstoculminateinagrido8rows.Shedevelopedacor-ollaryWebseriesinwhichsuspendedcloudsowirenettingwerestrungwiththousandsoseedpodstheseevolvedintoworksresemblingconstellationsojewel-likeelementsmaderomcomput-ercomponentsandcastresin.Sincethedeathohermotherin8theartisthascreatedworkinspiredbybubblesasanexpressionotheragilityolie.LM40YURIKOYAMAGUCHIBornJapan1948Origin1.1989Woodwireandglassjars64x84x9in.162.56x213.36x24.13cmPurchasedwithfundsfromtheNationalEndowmentfortheArtsandMuseumMembersSC198926YamaguchinotescommonalitiesinherworkwithideasexpressedinFritjoCaprasTheWeboLieANewScientifcUnderstandingoLivingSystemsNewYorkAnchorBooks6statingIoundmypurposeincreatingworksthatremindpeoplethatweareconnectedinmanyoverlappingwebswovenoutothecommonorcesthataectthehumanconditionamilyorigineconomicstressreligiousbeliesnaturetimeplaceandtechnology.AterallweareonlyhumanbeingswhowerebornandwhowilldietobereplacedbyothersinthecommunityomanartistsstatementAugust.TranscriptoaninterviewwithYurikoYamaguchiJanuarySCMAcuratorialles.SeetheentryonOriginbyValerieC.KohninEdwardJ.Nygrenetal.SmithCollectsContemporaryNorthamptonMASmithCollegeMuseumoArt87.19502013to 135 61950TO2013SCULPTUREDescribedbyonewriterasaveteranovisualcombatPanXingleiisanartist-provocateurwhoworkswithsculpturescrollspaintedwithboldcalligraphicstatementsinstallationvideoandperormanceart.BorninnorthernChinainthecityoShenyangPanXingleiwasoneotheartistsre-sponsibleortheGoddessofDemocracymonumentconstructedaspartothestudent-ledprotestsinTiananmenSquarein8.AterreceivinghisBFAinpaintingromtheCentralAcademyoFineArtsinBeijingtheartistmovedtoHongKongwhereheengagedinperormanceworksanticipatingtheendoitshistoryasaBritishcolonyin7.InthemostnotoriousotheseactionstheartistpouredredpaintoverasculptureoQueenVictoriabyMarioRaggi87inHongKongsVictoriaParkandsmashedthestatuesnoseorwhichhewasarrested.InhemovedtotheUnitedStateswherehenowlivesandworksinBrooklyn.PanXingleisrubbermenaremaderomcastsohisownbodyandwerecreatedintheatermathotheTianan-menSquaredemonstrations.Flexibleversionsmaderompolyurethaneorlatexwhosesuracesaremarkedwithpaintandcharactersbytheartistareusedinperormancesandinstallations.Intheirsotormtheyappearasde-atedbodiesorcast-ofskin.Somearecastinsolidorminplasterberglassorbronze.AccordingtoscholarJuliaAndrewsPanXingleisrubbermenplayonChineseproverbsthatreertoapersonwithanemptyskinapersonwithnoheartnospritnocompas-sionnohumanity.InthecontextothecontemporaryChinesepost-socialisteconomyandsocietythisiseitheradirewarningortheultimatecynicism.LM41PANXINGLEIBornChina1969RubberMan.2000PolyurethaneandpaintOverall64x18x6in.163.83x45.72x16.51cmGiftofJoanLeboldCohenclassof1954inhonorofher50threunionSC200340-1HughEakinCamouagedRevolutionaryArtNewsMarch.SeeartistsbiographyEthanCohenGallerywebsitehttpwww.ecfa.comsiteartists.phpaid48bio1.AlsoseetheartistsbiographybyJoanLeboldCoheninPost-MaoDreaming8.JuliaF.AndrewsinPost-MaoDreaming4.19502013to 137 81950TO2013SCULPTUREAtrstglanceAkiyamaYsceramicsculpturesappeartobelesstheresultoartisticmanipulationthantheproductosomenaturalphenomenon.Oncloseexaminationhoweveritbecomesclearthattheyaremadewithapotterswheel.Fragmentsothrownormstheoutersuraceoabowltheinterioroaves-selareoundinmostohisworksbuttheirtraditionalunctionhasbeenlost.AkiyamacametoKyotoromHiroshimatostudyceramicsatKyotoMunicipalUniversityoArts.TherehemetYagiKazuo87oneomostinu-entialJapanesepottersothepost-warperiodknownorhisabstractceramicsculpture.AlthoughAkiyamamasteredthetraditionaltechniquesothrowingonapotterswheelandglazinghehasneverbeeninterestedinmakingtraditionalceramicshapes.FormostohisworksAkiyamabeginswithasimpleringoclaythrownonthepotterswheel.UsingagasburnerAkiyamaappliestheameovereithertheinteriororexteriorsuraceotheringdryingtheclayandinducingcrackstoorm.Hethencutsthroughtheringandeitherlaysitatoroldsitbackontoitseltoormanotherringbothtypesomanipulationproduceurtherchangestothesurace.Forexampleonthoseringsonwhichtheinteriorhasbeendriedtheresultisaseriesosmoothconcaveormsinterruptedbydeepjaggedssuresonthoseonwhichtheexteriorhasbeendriedtheresultisahoneycombpatternoshallowcracksandsmoothsuraces.FinallyAkiyamacareullyworksintothesuraceotheringorslaberodingitwithwaterorurtherhardeningitwithameuntilheachievestheefecthedesires.Akiyamarepeatsthisprocesswithringsodifer-entthicknessesanddiametersandthenconstructshispiecesjoiningthesectionstogetherwithslip.Akiyamadoesnotviewhisceramicsculpturesasnitecreationsthataspiretopermanence.Ratherlikethematerialthatcarriestheirormsheseeshisworkasderivingitsmostundamentalele-mentsromnaturalprocessesthatarecontrolledandmanipulatedbytheart-ist.Thusheullyexpectsthatatsomeindeterminatepointintheuturethoseprocesseswillovertakehisworksandtheywillreturntotheearthromwhichtheywereoriginallyormed.SM42AKIYAMAYBornJapan1953T-042.2004Ceramic12x20x22in.31.75x52.07x55.88cmPurchasedwiththeJudithPlesserTarganclassof1953EndowmentFundSC200445ModiedromtheentrybySamuelC.MorseAkiyamaYinConfrontingTradition48.19502013to 139 41950TO2013SCULPTUREIntheSmithCollegeMuseumoArtpresentetheexhiitionTouchFireContemporaryJapaneseCeramicsbyWomenArtistsrwnromthepersonlolletionomemerothelsso6.AsolletoroontemporryAsinermisttheorerontotrensintheWestshequireworksiretlyromthertistsntheirglleriesorminggroupohighlyinnovtiventehnillyom-plexworksspnningthereltivelyshorthistoryromthepost-WorlWrIIertothepresentoinepenentJp-nesewomenermists.MorethnthirtyworksromTouchFireweregenerouslygivenytheolletornhermilytotheMuseumspermnentsoureoinspirtionorSmithstuents.ThegitinluesojetsreteytherstgenertionortistssuhsTsuoiAsukthehrismtileeroJoryTgeitherstwomensssoitionoermirtnOnoHkukot.no.4awhomsteretheemningYuri-kinsaitehniqueoglzingovermetlle.Theseongenertionoollege-trinertistssuhsShigemtsuAyumit.no.4bo-teneprteromtritionlvesselormsntewrestoreteojetsinspireyemlesexulitynnture.ThethirnurrentgenertionoemillytrinertistsinluesprtitionerssuhsTknoMihot.no.4cwhosehumorouslygurtiveworksreinfueneypopulturennim.MiwHnkot.no.4dtherstemleermistinmilyotwelvegenertionsotritionlermirtistsrstworkessulptorninstlltionrtist.Hersignturewheel-thrownormthelotusisreerenetothefowerrememereromherhilhoowhihsheviewssnlle-goryoermisoeutyrisingromthemunsoil.LM43AONOHAKUKOJapanese19151996ShapeoftheStarsPlatinumYri-kinsaiVessel.1982PorcelainplatinumleafglazeHeight13in.34.29cmdiameter14in.35.56cmAnonymousgiftinhonorofamemberoftheclassof1965SC200928-23ThisentryisseontheessyTheHistoryoWomeninJpneseCermisyToteKzukonrtistiogrphiesyWheiAoyminTouchFireContemporaryJapaneseCeramicsbyWomenArtistsNorthmptonSmithCollegeMuseumoArt.43A19502013to 14143BSHIGEMATSUAYUMIBornJapan1958YellowOrifce.2003Stonewareclayslippigments14x17x17in.36.83x44.45x43.18cmAnonymousgiftfromamemberoftheclassof1965SC200928-1543CTAKANOMIHOBornJapan1971ChatteringGirlsinSpring.2006StonewareclayslipenamelsVaryingsizesheight910in.22.8626.67cmAnonymousgiftfromamemberoftheclassof1965SC200928-16a-e43DMIWAHANAKOBornJapanbirthdateundisclosedLoveLotusFlower.20062007StonewarewithHagiglazeandplatinumlusterOverall9x17in.diameter24.13x43.18cmAnonymousgiftfromamemberoftheclassof1965SC200928-22b43B43D43C 41950TO2013SCULPTURE44SOPHEAPPICHBornCambodia1971SeatedBuddhaAbhayaMudra.2012BamboorattanwireplywoodSculpture69x70x35in.176.54x177.80x90.16cmPedestal31x87x45in.78.73x220.98x114.30cmPurchasedwiththeDorothyC.Millerclassof1925FundPurchaseinprocessduringpreparationothiscatalogue.SopheapPichandNoraTaylorMorningGloryNewYorkTylerRollinsFineArtunpaginated.SopheapPichArtistStatementinibid.4NoraTaylorTheSublimeGrowsinMuddyPondsinibid.SopheapPichlivesandworkinPhnomPenhwherehemaintainshisstudio.HerststudiedattheEcoleNationaldArtinCergyPontoiseFrancein4andwentontoearnaBFAattheUniversityoMassachusettsAmherstinandanMFAattheSchoolotheArtInstituteoChicagoin.Pichssignaturemediumiswovenrattanwhichheusestocreatethree-dimensionalbiomorphicandarchitec-turalsculptures.In4hebeganexperimentingwithstripsorattanasanarmatureoraormheintendedtocollagewithcigarettepackagesbutattheurgingoGuyIssanjouthenthedirectorotheFrenchCulturalCenterinPhnomPenhPichletthesculptureuncovered.ThisormapairolungswastitledSilenceandwasollowedbyotherrattansculpturesbasedonbodilyorgansaswellasanimalarchitecturalandplantlikeormsincludinganenor-mousmorningglory.Hismostrecentworkisbasedonpaintedgridconstruc-tionsthatincorporateburlapandencaustics.Pichcreatedaull-lengthSeatedBuddhaoranexhibitioninandhal-gureBuddhaswiththeheadandaportionothetorsoleavinglengthsorattancurlingunderneathasitosuggesttherestothebody.SCMAsSeatedBuddhaholdsitsrighthandwiththepalmacingoutwardintheabhayamudraagesturesigniyingprotectionandearlessness.ItisrelatedtotheSeatedBuddhaowhichPichtransportedtodiferentsitesandphotographedinonecaseamongotherstoneBuddhasinanotherinstancetoasandyplainwherethesculpturewasphotographedtiltingbackwardsasialling.Pichde-scribestheBuddhaastherstre-alisticBuddhahehadmadeattemptingtocopyasmallbronzeheowned.BornandraisedinaBuddhistcultureandamilyPichhassaidthatBuddhistteachingcorrelateswithhisideasaboutdailylieandaccordswithhisrespectornaturebutthatorhimMystudioismytempleandwhenItravelmysketch-bookandmylaptoparemyportabletemples.AsonewriterhasnotedtheartistsrattanguresoBuddhaengagematerialityandimmaterialityinawaythattraditionalstonesculpturesdonotandinthatsenseplaywithBuddhistteachingsthatposittheinvisiblepres-enceoBuddha.4LM19502013to 143 441950TO2013PRINTSMunakataisperhapsthebest-knownartistassociatedwithssaku-hangaalsoknownastheCreativePrintMovement.BorntoaamilyoblacksmithsinAomoriMunakatafrstlearnedaboutEuropeanartromlocalpaintersandhewasparticularlyenamoredoVincentvanGoghswork.AterbecomingdisillusionedwithoilpaintingearlyinhiscareerMunakataoundawaytocom-binehisinterestinJapanesetraditionandmodernWesternartthroughprint-making.Althoughhedevotedhimseltowoodcutsbeginningin8Mu-nakatadidnotdevelopaninternationalreputationorhisprintsuntiltheswinningtopprizesatprintexhibitionsinLugarnoSoPauloandVenice6.SeverelynearsightedromhischildhoodMunakatakepthisaceveryclosetotheblockashecutsometimesollowinghisdrawingbutotencreatingtheimagespontaneouslyduringthecuttingprocess.Hewasequallyidiosyncraticinhisprintingtitlingnumberinganddatingoworksrequentlyreworkingandprintingblocksmanyyearsatertheywerefrstcut.ThisisundoubtedlythecasewiththisimpressionoSandNestaworkfrstcreatedin8aspartoaseriesothirty-onewoodcutsillustratingtheNplayUtoNoHangasakuBirdsoSorrow.MostotheblocksinthisseriesweredestroyedinanairraidduringWorldWarIIbutthisblockisclearlyregisteredashavingbeenprintedin7.AJG45MUNAKATASHIKJapanese19031975SandNest.1938printedin1957Woodcutprintedinblackonthincream-coloredAsianpaperSheet13x16in.34.29x40.64cmGiftoftheestateofMrs.SigmundW.KunstadterMaxineWeilclassof1924SC197732-19519502013to 145 461950TO2013PRINTSSekinoisanimportantgureinthedevelopmentomodernprintmakinginJapan.Artistsassociatedwithsosaku-hangaCreativePrintMovementsoughttobreakwiththetraditionoukiyo-eprintsinwhichthedesignotheprintanditscuttingandprintingweredonebydiferentpeople.SekinobeganmakingprintsasachildinAomoriinspiredbytheartistMunakataShikwhowasalsoromthesametown.HisrstmediumwasetchingwhichhestudiedwithJunzoKonandlateropenedanetchingstudiowherehetaughtthetechniquetootherartists.ThesubjectothiswoodblockprintOnchiKoshiro8wasanimportantgureintheearlydevelop-mentososaku-hanga.Hewasparticu-larlyvitalindevelopingacommunityandencouragingyoungerartistsastheCreativePrintMovementhadlittlesupportinJapanbeoreWorldWarII.OnchibecameamentororSekinoatertheyoungerartistsmovetoTokyoinlatesandSekinoservedasoneoOnchisassistants.BothSekinoandOnchiadaptedukiyo-etechniquesusinglargeareasocolorwithouttheblackoutlinescom-monlyoundinearlierprints.Theirstyleshoweverwerequitediferent.Sekinoavoredrealistsubjectsexecuteddetailedpreliminarysketchesandwaspainstakinginhispreparationohisblocks.InthismovingportraitohisriendandteacherSekinodepictsOnchiwithoneoOnchisownprintswhichwereotenabstractcompositionsexecutedusingexperi-mentaltechniques.AJG46SEKINOJUNICHIROJapanese19141988OnchiKoshiro.1952WoodblockprintedincoloronpaperSheet26x21in.66.04x53.34cmGiftofLucioandJoanNotoSC201256819502013to 147 481950TO2013PRINTSIwamiReikausessimplematerialsinkwoodandmetalleatocreateabstractcompositionsthatcapturethesubtlequalitiesonature.Usingwoodblockswithdistincttexturesashermatricestheartistcreatesexquisitelycratedprintscombiningsensitivelyprintedareasoblackwhiteandgreywithblindembossingmetalleamicaandhandmadepaper.AccordingtocollectorsMaryandNormanTolmanIwamissubjectiswateranditsowandhergeniusliesinthealmostmysti-calabilitytotransmutethegrainandtextureopiecesowoodshehasoundintovisualimagesopatternsowater.Initiallytrainedindoll-makingatBunkaGakuenUniversityinTokyotheartistreocusedhercreativeenergiesonprintmakingduringthemid-sstudyingwiththreeothemostimpor-tantmodernprintmakersinJapanOnchiKoshiroSekinoJunichiroandShinagawaTakumi.InadditiontomakingwoodblockprintsIwamiisalsoapoetandseesadistinctrelationshipbetweenhertwoartormsHaikuisadisciplinedstudy.ItorcesonetoeliminatewhatisnotnecessaryandthatswhyIuseitasaspiritualexerciseormyprints.NormanTolmanservedasadiplomatattachedtotheCulturalOfceotheAmericanEmbassyinJapanandhiscareerbroughttheTolmansinclosetouchwithartistsalloverthecountry.NowtheworkoTheTolmanCol-lectionwhichincludesoperationsinTokyoNewYorkSingaporeandHongKongsupportsthestudyandappreciationocontemporaryJapaneseprintsthroughouttheworld.GitsromtheTolmansinhonorotheirdaughterHilaryclasso87havesignicantlyenrichedSCMAsholdingsinthisareaseecat.nos.48and4.AJG47IWAMIREIKABornJapan1927Autumn.1978Woodblockonheavyweightcream-coloredhandmadepaperSheet273x20in.70.49x50.80cmGiftofTheTolmanCollectionTokyoinhonorofHilaryTolmanclassof1987ontheoccasionofhertwentiethreunionSC2007104MaryS.andNormanH.TolmanPeopleWhoMakeJapanesePrintsAPersonalGlimpseTokyoSobunsha8.IwamiReikaquotedinibid.19502013to 149 1950TO2013PRINTSShinodaisregardedbymanyasthemostimportantwomanartistincontemporaryJapan.Trainedasacalligrapherbyherathershehaspursuedacareerasanabstractpaintercalligrapherandprint-makeroralmosteightyyears.AlthoughshewastrainedinatraditionalmannerShinodahasalwaysollowedherownartisticvisionCertainormsfoatupinmymindseye.Aromasablowingbreezeandrain-drenchedgustsowind...Theairisinmotionmyheartisinmotion.Itrytocapturethesevagueevanescentimagesothatinstant.ShelivedinNewYorkrom6to8atwhichtimeshewasexposedtoAbstractExpressionistpaint-ingandparticipatedinexhibitionsattheamedBettyParsonsGalleryamongotherU.S.venues.ShereturnedtoJapanin8andhascontinuedtoshowinternationally.Shinodabeganmakingprintsin6andhasworkedwithTheTolmanCollectionthelargestprintpublisherinJapansincethemid-7s.Lithographyisthenaturalprintmakingmediumortheartistasherimagerydependsagreatdealonsubtlelayersotextureandthevitalityoherbrushwork.ThevarietyobrushstrokesvisibleinDramaaptlyshowsherrangeromthethinblackcalligraphicslashesattheuppercentertothedelicatebutenergeticapplicationothegoldenstrokesthatoverlaythecompositionscentralelements.Shinodastoppedmakinglithographsin7whenKimuraKihachiherlongtimeprinterretired.AJG48SHINODATKBornJapan1913Drama.1997LithographprintedincoloronpaperSheet21x28in.53.34x71.75cmGiftofTheTolmanCollectionTokyoinhonorofHilaryTolmanclassof1987ontheoccasionofhertwentiethreunionSC200710-16TheartistquotedinMaryandNormanTolmanTokoShinodaaNewAppreciationRutlandVermontandTokyoJapanCharlesE.TuttleCompany4.19502013to 151 1950TO2013PRINTSXuBinggrewupinBeijingwherehisatherwasaproessorandhismotheralibrarianatBeijingUniversity.HespenthisearliestyearsplayinginthelibrarystackslookingatbookslledwithChinesecharactershecouldnotread.WhenhewasinschoolthegovernmentwasexperimentingwithwaystosimpliythewrittenChineselanguagewhichmeantthatcharactershelearnedoneweekotenchangedthenext.ThiscompoundedwithhisatherspracticeorequiringhimtocopyclassicalChinesecharactersathomemadelearningtoreadandwriteparticu-larlychallenging.XuBinghassaidthatthisexperienceinfuencedhisvisionobookslegibilityandmeaningthethemeshehasexploredthroughouthiscareer.XustudiedprintmakingattheCentralAcademyoFineArtsjoiningtheacultyollowinghisgraduation.Creationisanimpressionoaprintcreatedaspartohismastersthesisaseriesosequentialwoodblockprintsthattracethedevelopmentoanimage.Inthiscaseateemingpoolotadpolesisdepicted.ThatsameyearXubeganoneohismostwell-knownprojectsBookoftheSky.Thisinstallationwhichtookouryearstocreateincludes4hand-printedbooksand8eetoprintedscrolls.AlthoughthebooksareboundtolookliketheConucianclas-sicsandthescrollsresembledhistoricalexamplestheyareallillegibleastheyarewritteninmeaninglesscharactersotheartistsinvention.XuBingletChinainandsettledinNewYorkuntil7whenhereturnedtoChinatobecomevicepresidentohisalmamater.Hehascontinuedtocreateprooundword-basedworksincludingtheinventionoanewEnglishalphabetbasedonChinesecharacters.AJG49XUBINGBornChina1955Creation.1983WoodcutprintedinblackonpaperSheet26x35in.67.94x89.53cmGiftofJoanLeboldCohenclassof1954andJeromeA.CoheninmemoryofEnidSilverWinslowclassof1954SC200340-2ThisentryisbasedonabiographyotheartistbyJoanLeboldCoheninPost-MaoDreaming.19502013to 153 41950TO2013PRINTSOneothemostamouscontemporaryChineseartistsintheWestFangLijunrosetoprominenceduringthelate8sandearlys.HeisregardedasapioneeroCynicalRealismastyleopaintingthateaturesanonymousguressinglyandingroupsadoptingposturesthatdisplayboredomcon-temptanddisillusionwithChinesesociety.BornandraisedinthesouthernprovinceoHebeiFangwasshunnedasachildbecausehisgrandatherhadbeenalandownerbeoretherevolutionandhisamilywasthereoreclassiedasrichpeasants.ThisoutsiderstatusallowedtheyoungartisttodevelopacriticaleyetowardthecontradictionsinherentintheCommunistsystemaswellasstrate-giestocircumventthemwhileappear-ingtocomply.FangrststudiedattheHebeiLightIndustryTechnicalCollegeocusingonceramicsandpropagandaartandwasadmittedtotheprintmakingdepartmentattheCentralAcademyoFineArtsinBeijingin8.WhileattheAcademyhemettheinfuentialcriticLiXiantingwhowasresponsibleorFangsinclusionintheground-breakingChinaAvantGardeexhibitionin8.AlthoughnowbestknownasapainterFangneverabandonedmakingprintsandspecicallywoodcuts.Maderomsheetsoplywoodcarvedwithpowertoolsanelectricplanerandjigsawprintssuchas2000.6.25aredistinguishedbytheirroughappearanceasplywoodtendstosplinterandelectrictoolsarehardtocontrol.Thesevisualqualitiesalsosupportthemessageotheprintstheheadsohisguresarefatabstract-edandalmostdehumanizedalthoughtheyareclearlyrecognizableasaces.Usinglargesheetsoplywoodalsoallowstheartisttocreateexpansivemulti-partprintssuchastheseriesomonumentalgrisaillewoodcutssimilarto2000.6.25thatwereprominentlydisplayedattheShanghaiArtMuseumaspartothethirdInternationalShanghaiBiennialein.AJG50FANGLIJUNBornChina19622000.6.25.2000WoodcutprintedinblackandgreyonpaperSheet47x31in.120.65x80.64cmPromisedgiftofEthanCoheninhonorofDeanEmeritaElizabethAhnToupinKarenSmithNineLivesTheBirthofAvant-GardeArtinNewChinaChinaTimezone8Limited867.19502013to 155 61950TO2013PRINTSYueMinjunisoneothemost-recognizedChineseartistsontheinternationalscene.Hisdistinctiveworkeaturesalaughingsel-portraitotenseeninmultiples.Althoughthesettingsandsituationschangethehilarityothegurealwaysseemsorcedandoutoplace.YueexplainedhisuseothelaughinggureasasymbolocopingwiththeconusingdifcultiesolieSmilingisareusaltothinkdeeplywhenyoueeltherearethingsaboutwhichyouhavenowayothinkingdeeplyorwhicharetoodifculttothinkaboutandyouneedtogetridothethoughts.YuesworkisotencategorizedaspartotheCynicalRealistMovementinspiredbytheworkoartistssuchasFangLijun.ThismovementemergedduringthesinthewakeotheTiananmenSquareprotestsandthesubsequentbrutalcrackdown.Idealismandhopeoruturereedomssouredandartistsbegantoexpresstheirdisappointmentanddetachmentbyinusingtheirworkwithironyandindierence.In8PacePrintsandEthanCohenFineArtsbegananambitiouspartner-shippublishingprintsbysomeothemostimportantcontemporaryartistsinChina.AspartothisprojectYueMinjuncreatedourscreenprintsandourwoodcutsowhichthisistherstimage.SCMAreceivedtwenty-ourprintsromthiscollaboration.AJG51YUEMINJUNBornChina962Woodcut1fromTheGrasslandSeries.2008WoodcutonpaperSheet471x33in.9.69x85.72cmPrintedbyWatanabePress.PublishedbyPaceEditionsInc.andEthanCohenFineArtsGiftofPaceEditionsIncorporatedandEthanCohenFineArtscourtesyofAnnandRichardSolomonAnnWeinbaumclassof959EthanCohenandJoanLeboldCohenclassof954SC2000-2LiuChunWorksshouldrepresentanartistsattitudeandpositionConversationwithYueMinjun4.QuotedinLPengAHistoryofArtin20thCenturyChinaBruceGordonDoartrans.MilanEdizioniCharta48.19502013to 157 81950TO2013PRINTSZhangDaliattendedtheprestigiousCentralAcademyoArtandDesigninBeijingstudyingtraditionalChineseinkpainting.Atergraduationhedevel-opedacareerasasuccessulabstractpainter.ZhangletChinaaterthestu-dentdemonstrationsin8livinginItalyorsixyears.Duringthistimehediscoveredgraftiartandbeganspray-paintingastylizedsel-portraitasamethodoengagingartisticallywithhisadoptedcityoBologna.ZhangreturnedtoBeijinginandadoptedthepseudonymAK-47otherwiseknownas8K.AK-47reerstotheassaultrieusedbytheSovietArmyandisusedbytheartistasasymbolotheinltrationoaggressionandviolenceintoeverydaylie.ThroughoutthesAK-47sdistinctivehumanprolepaintingsmarkedbuildingsacrossBeijingmanyowhichweretaggedordemolition.WhenaskedwhyheadoptedthispracticetheartistrepliedOrdinarypeopleseemyworkeverydayanditmakessomeothemthinkaboutwhatitmeanstoliveinanurbanenvironment.Itislikeanexchangeoideaswiththepeoplewholiveinthiscity.MorerecentlyasinthisprintZhanghasusedhisormermonikerAK-47asamark-makingdeviceoraseriesoportraitsomigrantworkers.TheseworkersrepresentanunderclassinChinesesocietythatisnonethelessacrucialpartothecountysmodern-ization.AJG52ZHANGDALIBornChina1963AK-47.2008Nineteen-colorsilkscreenSheet55x46in.139.70x116.84cmPrintedbyWatanabePressInc.PublishedbyPaceEditionsInc.andEthanCohenFineArtsGiftofPaceEditionsIncorporatedandEthanCohenFineArtscourtesyofAnnandRichardSolomonAnnWeinbaumclassof1959EthanCohenandJoanLeboldCohenclassof1954SC201010-6CatalogueentryonZhangDaliinCeesHendrikseed.WritingontheWallChineseNewRealismandAvant-GardeintheEightiesandNinetiesRotterdamGroningerMuseumNaiPublishers86.TheartistquotedinLynStuartDialogueThegraftiarto8KBeijingSceneno.4April.httpwww.beijingscene.comV05I004index.html19502013to 159 61950TO2013PRINTSArtistandmasterprinterChunwooNamreceivedhisBFAromtheUniversityoHongikinKoreahisMFAattheUniver-sityatBualoSUNYandtraininginlithographyattheTamarindInstituteinNewMexico.TheportolioWeareHerecontinuesNamsprintedexplorationsoculturalidentityinterdependenceanddisplacement.TheportolioincludestwodiptychsthatlayerChineseandAmericanculturalsymbolsandthatexplorevisuallyhowthetwosuperpowersareintimatelyconnectedandintertwinedviatheworldsnancialsystemsdespitepro-oundculturaldierences.WeareHereIincludesaghostlytealshadowoaguremaroonedamongstthebuildingssignageandtrafcoTimesSquareinNewYorkavisualmeditationonAmericanindividualismandisolation.ThecompanionpieceWeareHereIIoverlaysanetchinginredoacombinedChineseAmericanagmarkedwiththewordsmadeinmoney.Replacingthetealgureisadancingcouplesilhouettedingoldlea.TheseguresaretheartistandhisprinterMarkPatsallandrepresentthedelicatecollaborativedancebetweenartistandprinteraswellasthatbetweencultures.ThetwootherprintsintheseriesdepictasimilarsceneenactedinTiananmenSquare.AJG53CHUNWOONAMBornSouthKorea9WeareHereIandWeareHereII.20ILithographonSomersetpaperIILithographandetchingwithgoldleafonSomersetpaper220Each4x22516in.37.78x.7cmPrintedbyMarkPatsfallwiththeassistanceofEmilySites.PublishedbyClayStreetPressCincinnatiOhioPurchasedwiththegiftofWanKyunRhaKimclassof90andAndrewByongSooKimSC20SC20219502013to 161 61950TO2013PRINTSTheTolmanCollectionalaboroloveoroundersMaryandNormanTolmangreworganicallyromtheirowncollectinginterests.InthewakeothenaturaleconomicandpoliticaldisastersthatmarkedlieinJapaninNormanTolmanconceivedoaprintprojectthatwouldrefectwhathesawasthetypicalresponseoJapanesepeopletoadversitytheyduginwithdignityheldtheirheadsuphighworkedhardandnevercom-plained.HechargedeightotheartistswhoregularlyworkwithTheTolmanCollectiontotranscribetheireelingsintoabstractormonthesubjectoHopeortheFuture.TheresultingportolioconsistingonineprintsinavarietyomediacapturestherangeoimageryandapproachesaswellasthecontinuingvitalityocontemporaryprintmakinginJapan.TwocontrastingusesowoodcutexempliythediversityoworkintheportolioHasegawaYuichisSkyofHopeSparkletotheFuturep.adazzlinglycomplexandcolorulreduc-tion-processwoodcutandthesereneandnuancedSilentLightpicturedherebyGotoHidehiko.TheworksexhibitvariedapproachestothethemeanevocationospringintheworkoImamuraYoshioavisionosproutingrebirthbyNagaiKenjiandasimplevisionoplentybyZhouHaoaChinesenativelivinginYokohama.NakazawaShinichiemploysthesubtleglowometalleapristinebalanceisdisplayedintwocompositionsbyTsubotaMasahikowhileTamekaneYoshikatsusinextinguishablefameistestamenttotheresilienceotheJapanesepeople.AJG54HASEGAWAYUICHIBornJapan1945TSUBOTAMASAHIKOBornJapan1947GOTOHIDEHIKOBornJapan1953TAMEKANEYOSHIKATSUBornJapan1959NAGAIKENJIBornJapan1947IMAMURAYOSHIOBornJapan1948NAKAZAWASHINICHIBornJapan1956ZHOUHAOBornChina1960HopeAspirationsintheAbstract.2012AportolioonineprintsindiferentmediaEachsheet17x23in.45.40x60.32cmGitoTheTolmanCollectionTokyoinhonoroHilaryTolmanclasso1987ontheoccasionohertwenty-threunionSC2012161-3ab-8GotoHidehiko.SilentLightromtheportolioHopeAspirationsintheAbstract.Woodblockprintedincoloronbeigemoderatelythickslightlytexturedpaper.SC6-19502013to 163 641950TO2013INSTALLATIONAganoMachikoisamastertextileandberartistwhobeganhercareerasaweaver.AgraduateoKyotoCityUniversityoArtsshenowteachesatKyotoSeikaUniversity.Inherearlyinstallationworksromthe8sAganousedsheetsosilkorganzaatrstcreatinglongswathesotheabricdescendingingraceulpleatsromtheceilingandlatercombiningtheorganzawithsuspendedbamboostructuresresemblingboxkitesorinsectpods.Inthesshebeganmakingworkwithkozomulberrypulpbamboosisalandothernaturalmaterialsallowingthematerialstospeakorthemselvesandtodeterminetheormothenishedworkwhichsheplannedwithpreliminarydrawings.Laterinthedecadeshedevelopedwhatwouldbecomehersignatureworksoshinglineandstainlesssteelwireknittogetherwithlargeneedlesintolargeskeinsanddippedintowetkozo.TheuntitledworkthatwasshowninSCMAs8exhibitionConrontingTraditionContemporaryArtromKyotoandpurchasedorthecollectionwithcat.nos.7and4isoneothesegossamerinstallationsadaptedbytheartisttotthespaceotheDalrympleGalleryontheMuseumslowerlevel.Thenetswhichcatchandspilllightalongtheirsuracesaresuspendedromtheceilingandanchoredatthefoortocreatediaphanousmountainscapes.Althoughtheyappearatoncetranspar-entandragileasspiderwebstheyarecorrespondinglystrongandresilient.Morerecentlytheartisthasincorpo-ratedcolorinherwork.In8shebegantocreateinstallationsmadewithbrightlyhuedinkjetprintsromsnap-shotsodailyliebackedwithmirroredsheetingtocreatewhatshedescribesasmultiplelayersshowingthecontra-dictionsanduncertaintyinmodernlie.Shenotedatthetimethatherpre-viousworkhadattemptedtoexpressakindonostalgiaornaturethatisincreasinglybeinglost.LM55AGANOMACHIKOBornJapan1953Untitled.2004InstallationwithknittedfshinggutstainlesswireandkozoOverall118x275x393in.299.72x698.50x998.22cmPurchasedSC200450ThisentryisdrawnromSamuelC.MorsesdiscussionoAganoMachikosworkinConrontingTradition8.AganoMachikoArtistsStatementorTransitionandInfuenceTheGalleryoContemporaryTextileArtistswebgalleryTheUniversityortheCreativeArtsatCanterburyEpsomFarnhamMaidstoneRochesterEnglandhttpwww.transitionandinfuence.comgallerymachikoaganostatement.htmlma219502013to 165 661950TO2013INSTALLATIONIntheMuseumwasapproachedbymembersoKASSTheKoreanAmericanStudentsoSmithwhoex-pressedinterestinpurchasingaworkbyaemaleKoreanorKorean-Americanartistorthecollection.TheirprojectwassparkedbyquestionstheyposedtothemselveshowcouldagreaterocusoncontemporaryAsianartbecreatedatSCMAandcouldtheyasstudentsdirectlyaecttheMuseumbyacquiringaworkoartoritsholdingsWiththeMuseumsapprovaltogoorwardKASSofcersledbySohlLeeclasso6conductedtheirownresearchandmetwithadvisorsintheeld.Aterselect-ingtheinstallationMovementbytheKorean-AmericanartistYongSoonMintheylaunchedaninternationalundrais-ingeorttoacquireit.AsdescribedbyHong-heeKimor-merdirectorotheGyeonggiMuseumoModernArtSuwonSouthKoreaYongSoonMinsworkexplorespost-colonialdiscoursesoimmigrationexilelossandconusionaswellastheironiesodualidentity...Hermulti-mediaartpracticeencompassingwordstextsdrawingphotographyandvideoisconceptualyetconcreteprivateyetpolitical.MovementwasoriginallycommissionedwithothernewworksbyleadingAsianartistsbytheAsiaSocietyNewYorktocelebratetheopeningoitsnewbuildingin.Minsubstan-tiallyrevisedtheinstallationwhenitwasacquiredin8bySCMA.AsitwasrstconceivedortheAsiaSocietyMovementwascomposedotrans-parentLPrecordsafxedwithcolorulPan-Asianmusiclabelsandmountedwithclockmechanismseachwiththreehandsonlargemirroredpanels.ForSCMAtheLPswithclockmechanismsremovedweresupplementedbyAsianmusicCDsactuallyDVDsimprintedwithimagesromrecordandmusicCDcoversandthemirroredbackgroundwasreplacedbymanysmallcircularmirrors.TheseelementswerearrayedinsweepingarcstocreateawavepatternreerringnotonlytotheAsianWavephenomenoninpopularcultureandtheartsbutalsotoKatsushikaHokusaisamouswoodblockprintTheGreatWaveofKanagawa.Minswaveunliketheprintbreaksromrighttoletandwasoriginallysurmountedbyashinygreenpainteddiskatthetopletothecompositionaleld.FortheexhibitionCollectingArtoAsiaMinrevisedthegreencirclereplacingitwithanenergysourceenclosingmultipleoverlaidringsovarioussizesinapaletteomutedgreensbluesandoranges.Seerontispieceoppositethehal-titlepageandendpaper.LM56YONGSOONMINBornSouthKorea1953Movement.2008InstallationwithtransparentLPrecordsCDsDVDsroundmirrorsofvaryingsizeslargepaintedgreendiskDimensionsvariablePurchasedthroughtheinitiativeoftheKoreanAmericanStudentsofSmithKASSandtheKoreanArtsFoundationKAFwithgiftsofalumnaeandotherdonorsSC200838SohlLeeTowardMovementConversationCollaborationandCoproductioninMovement8.Hong-heeKimYongSoonMinsMovementinibid.19502013to 167 681950TO2013PHOTOGRAPHSHuangYanisoneoanumberocon-temporaryChineseartistswhousethebodyasthevehicleoexpressionortheirworkatrendemergingintheChineseartworldinthes.Someartistshaveusedtheirbodiesasartisticagentsinperormance-basedworkinvolvingsocialprotestandinsomecasesenduranceorordeals.HuangYanusesthebodyasthecanvasorclassicallandscapepaintingswhicharethebasisorhisperormativephotographs.HehasbecomealeadingvoiceamongChineseartistswhoextendtheshanshuiliterallymountain-waterclassicallandscapetraditionaspartocurrentglobalartisticdiscourse.HuangYanbecameinterestedinthelandscapepaintingsoliteratiartistsatraditionohighlyeducatedscholarpainters.Inthemidshebegantopaintclassicallandscapesonhisacehandsandbodyapracticeinwhichmanwasthesubjectlandscapewastheobjectandalandscapepaintedonthehumanbodywasthematerial-izationotheunionbetweensubjectandobject.Inthissetoourteenphotographsgivenbygalleristandcol-lectorEthanCohenalandscapeoorestedmountainsexecutedbyartistZhangTeimeiHuangswiecoverstheartistschestandbackandtreesextendtheirlongtrunksuphisarms.Theblue-and-greenlandscapestyleotheNorthernschoolseemstoberefectedhereperhapsasanodtotheartistsbirthplaceinJilinprovinceinnortheastChina.Thelandscapeisreconguredineachothephotographsastheartistadaptshispositionbyoldinghisarmsclasp-inghishandsandspreadingclosingorinterlacinghisngers.Asmalldwellingthatappearsatthebaseothetreesonhislethandimplieshumanpresenceinthenaturalsettingbutinthisworktheartistliterallyembodiestheshanshuilandscapetradition...mountainsandriversareprooomyemotionalexpressionmoun-tainsandriversaretheplacewheremyheartandsoulfndpeacemountainsandriversaresiteswheremyphysicalbodybelongs.Byreerringtotattooinganancientormobodyartpracticedbymanycul-turesinthetitleothisworktheartisturtherreinorcestheintimacyohisconnectionwiththelandscape.LM57HUANGYANBornChina1966ChineseShan-shuiTattoo.1999FourteenC-printsEach47x59in.120.01x149.86cmGiftofEthanCoheninhonorofJoanLeboldCohenclassof1954andJeromeA.CohenSC2012541HuangYanTheHistoryoLandscapeinHuangYan19902006BeijingXinDongChengSpaceorContemporaryArt68.SeeBrittaEricksonsentryonHuangYaninPeterFischered.ShanshuiPoetrywithoutSoundLandscapeinContemporaryChineseArtLucerneKunstmuseumLuzernentry.FanZhangemailtotheauthorSeptember.BrittaEricksoninShansuiPoetrywithoutSoundnotesaspecicreerencetothelandscapesotheQingdynastyartistWangYuanqi647.HuangYanArtistsStatementHuangYaninBetweenPastandFutureNewPhotographyandVideoromChinaChicagoSmartArtMuseum46.19502013to 169 71950TO2013VIDEONamJunePaikiswidelycreditedasapioneerovideoart.WhilePaiksvideoinstallationsandsculpturesaretheworkorwhichisheisbestknownhisinternationalcareerencompassedavant-gardemusictheFluxusmove-mentbothinEuropeandtheU.S.per-ormanceandactionartaswellasmassmediaandtechnology-basedarts.BorninSeoulKoreaPaikfedwithhisamilyollowingthepartitionothecountryin48resettlinginJapanin.PaikattendedtheUniversityoTokyoandthenmovedtoWestGermanytocontinuehisstudies.WhileinEuropePaikmettheavant-gardeAmericancomposerandtheoristJohnCagewhobecameanimportantartisticinfuenceonhisworkasdidGeorgeMaciunastheounderotheFluxusmovement.ThealteredtelevisionsetarecurringmotiinPaikslongcareerwasintro-ducedin6inhisone-artistexhibitionElectronicMusicElectronicTelevision.TwoalteredtvsetsarethecenterpieceotheMuseumsInternetDwellersculpture.InternetDwellerbtjm.twelve.jhgdwasmadeorthetravelingexhibitionNamJunePaikinthe90sTheElectronicSuperhighway.Itisthetwelthinagroupoadozeninternetdwellerscreatedbytheartistasacesotheglobalvil-lage.Theyarenotbasedonethnicorculturaltypesbutinsteadrepresentaveragecitizenswhoareunitedthroughtheelectronicthoroughareotheinter-net.Theaceothisinternetdwelleriscomposedothreescreenstheeyesandmouthothesculpturesetinvintagetelevisioncabinets.Ithasacam-eranoseclockearsandaheaddresscomposedoanelectricchandelier.Thescreensrunanapproximatelyeight-minutesynchronizedvideoprogramoimagescreatedusingasystembasedonchanceadaptedromJohnCagescompositionstrategyorandomnessandthenselectedthroughlaterediting.ThevideoincludesfeetingglimpsesromadizzyingcollageolandscapesancientmonumentssuchasStone-hengetheMonaLisaandotheramousworksoarttheartistJosephBeuysanexcerptromaPaikCharlotteMoormanperormancepieceKoreandancersanddollsnewspaperstalkingheadsgraphicstextsbrandnamestelevisionstaticandtestpatternsandmanyotherimageswhicharelayereddissolvedanddistortedastheyfashthroughthevisualeld.LM58NAMJUNEPAIKKorean19322006InternetDwellerbtjm.twelve.jhgd.1997TwovintagetelevisioncabinetsthreeKECnine-inchtelevisionsmodel9BNDtwoclockscircuitboardsabricelectriclightfxtureNamJunePaikOverall47x41x28in.119.38x104.14x71.12cmPurchasedwiththeJanetWrightKetchamclasso1953FundandtheBeatriceOenslagerChaceclasso1928FundSC199818TheliteratureonNamJunePaiksworkisextensive.JohnG.HanhardtscatalogueortheWhitneyMuseums8exhibitionNamJunePaikremainsaprincipalresourceasdoesthe6exhibitioncatalogueNamJunePaikVideoSculpturesStatensMuseumorKunstCopenhagen.InadditiontodrawingonthesesourcesthisentryisadaptedromtheacquisitionproposalpreparedbyLindaMuehligOctober78SCMAcuratoriallesandalsoromcat.no.4inMovement8.19502013to 171 71950TO2013VIDEOIn7theyoungChineseartistCaoFeibecameintriguedwiththeinternetplatormSecondLiehttpsecondlife.comwhichallowsmillionsousersaroundtheglobetocreateanimatedavatarsandtointeractinvirtualenvi-ronments.ShedecidedtoconstructherownvirtualmetropolisorSecondLiedubbingitRMBCityatertheChineseunitocurrencyRMBRenminbi.TheanimatedvideoTheBirthofRMBCitydocumentsthecityscreationateritslaunchontheinternetwithagureoaconstructionworkerorchestratingthebuildingprocessasstructuresappearorcollapseandreassembleinthevir-tualspaceoanislandcitysurroundedbywater.ThevideoistherstpurchaseotheMuseumsnewlyestablishedContemporaryAssociatesgroupwhosemembershipduesareusedannuallytoacquireaworkocontemporaryartorSCMAscollectionprimarilyintheareaonewmediaandphotography.WorkingwithVitaminCreativeSpacetheartistdesignedhercityasanassemblageooldandnewAsianarchitecturallandmarksthePeoplesPalaceinBeijingrontedbyafoodedTiananmenSquareRemKoolhaasandOleScheerensCCTVbuildinginBeijingaglassandsteelstructurewithtwoleaningtowersandadramati-callycantileveredprowHerzogdeMeuronsBirdsNeststadiumromthe8BeijingsummerOlympicsportrayedbytheartistastherusted-ribsremnantothestructureandJiangHuanchengsOrientalPearlTowerinShanghai.Aspoked-wheelobserva-tionplatormrotatesabovethecityandatstreetleveltherearemarket-placesandaseriesoidenticallowrowhousessurroundedbybarbedwire.AactorytowercontinuouslybelchesreandsmokeandapandathecityslovecenterfoatslikeaMacysThanksgivingDayParadeballoonabovetheskyline.Thecameramovesrombirds-eyetoground-levelviewsal-ternatelycoursingalongorbelowthestreetsandhoveringaboveorenteringstructures.AttheendothevideoallthestructuresdisappearasRMBCityitselwillultimatelydisappearromtheSecondLieplatorm.LM59CAOFEIBornChina1978TheBirthofRMBCity.2009Single-channelcolorvideowithsoundDuration10minutes30secondsPurchasedwiththegiftoftheContemporaryAssociatesSC20101ThisentryisbasedonthepurchaseproposalbyLindaMuehligorTheBirthofRMBCityOctoberSCMAcuratoriallesThehousesarepossiblyareerencetocontemporarysocialisthousingsuchasHuaxiVillageamodelocommonprosperityinJiangyineastChinasJiangsuProvince.19502013to 173 174INDEXInexofArtisArtistsarelistewithamilynamefrstexceptincasesinwhichtheartistismorecommonlyknownorchoosestosel-ientiybyfrstnamethenamilynamee.g.HungLiuNamJunePaikYurikoYamaguchietc..Inallcasesnamesarealphabetizeaccoringtoamilyorlastname.AGANOMACHIKOCat.no.55AKIYAMAYCat.no.42CAOFEICat.no.59DINGZHANCat.no.34FANGLIJUNCat.no.50GOTOHIDEHIKOCat.no.54GUWENDACat.no.35HASEGAWAYUICHICat.no.54HUANGYANCat.no.57IMAMURAYOSHIOCat.no.54IWAMIREIKACat.no.47KAJIKAWABUNRYSAIIICat.no.23KATSUSHIKAHOKUSAICat.no.20KISHIGANKUCat.no.16KOIZUMIKISHIOCat.no.21HUNGLIUCat.no.36YONGSOONMINCat.no.56MIWAHANAKOCat.no.43dJIHAMOONCat.no.39MUNAKATASHIKCat.no.45NAGAIKENJICat.no.54NAGOSHIJMIVICat.no.27NAKAZAWASHINICHICat.no.54CHUNWOONAMCat.no.53 175NISHIJGENICt.no.27ONOHAKUKOCt.no.43aNAMJUNEPAIKCt.no.58PANXINGLEICt.no.41SOPHEAPPICHCt.no.44QIBAISHICt.no.12SEKINOJUNICHIROCt.no.46SESSHTYSessoTyCt.no.14SHIGEMATSUAYUMICt.no.43bSHINODATKCt.no.48SUMIYOSHIJOKEICt.no.15TAKANOMIHOCt.no.43cTAMEKANEYOSHIKATSUCt.no.54TANGMULICt.no.32TSUBOTAMASAHIKOCt.no54TSUISHUYZEIXXToyogorCt.no.24UTAGAWAHIROSHIGECt.no.18UTAGAWAKUNIYOSHICt.no.19SAIRAWASIMCt.no.38XUBINGCt.no.49YURIKOYAMAGUCHICt.no.40YAOZHENGYONGCt.no.11YASUKIMASAKOCt.no.37YUANYUNSHENGCt.no.33YUEMINJUNCt.no.51ZHANGDALICt.no.52ZHOUCHENCt.no.10BZHOUHAOCt.no.54 176creditsTwxCollectingArtofAsiaSmCMmfANmMFy1My262013.www.m.mmSmCMmfANmM2012.Av.editorLMdesignandproductionCyEkcolorseparationsandprintingGHPWHvCisbn978-0-87391-072-9photographcreditsP103..56JBwTy122WmUCCFFNYC127..36PkyGyRBGy143..44SPyTyRFA171..58PkyGyCSwyGy.UwyPkyG.rontandbaccoersSyfSmyJk.TheMiraculousOriginsofHachiman.C..15rontispiecef-andendpaperYSM.Eyfm2012vvfMovement.C..56page2YMj.Woodcut1fmTheGrasslandSeries.C..51page4CMwHk.LoveLotusFlower.C..43dpages4849CYZy.SolitaryMonasteryinMountains.C..11pages7475JKkHk.SouthernBreezeClearWeather.C..20pages106107SAHmyElephantExecutionofPrisoners.C..31pages1161719502013XB.Creation.C..49