During the few months between the Seattle Asian Art Museum closing its doors and the start of the renovation and expansion, our staff was keeping busy. While the entire Asian art collection was relocated to our downtown location to store and protect it during the construction, the curatorial staff began thinking about how to display it when the museum opens again in fall 2019. Xiaojin Wu, SAM’s Curator of Japanese and Korean Art, and Ping Foong,Foster Foundation Curator of Chinese Art made use of the empty museum walls to brainstorm how the future of the galleries will be organized.
L to R: Xiaojin Wu, Ping Foong
One traditional method of curation is to group objects according to the region they come from. When the museum reopens, the goal is to move beyond this method and explore new ways of integrating and presenting the eclectic artworks. “The challenge,” says Wu “is attempting to create accessible art while embracing how complex art and history can be.”
Cross-cultural display is interesting but it can be confusing to present as a museum and to understand as a visitor. “We’re more concerned about boredom,” Says Wu. “The key is excitement—making people want to learn.”
L to R: Rachel Harris, Amelia Love
There are 13 galleries in the Asian Art museum to use for the collection works and the items within them will need to rotate regularly since all Asian paintings and textiles are light sensitive and every six months, or so, they need to rest, sometimes for years at a time!
Ping Foong organizing our collection
It’s hard to gain a sense of scale from print outs, but planning how the rich and diverse piece of our Asian Art Museum will fit back together again is underway! Learn more about the entire renovation and expansion process on our website or, if you’re a SAM member, don’t miss Ping Foong and Xiaojin Wu discussing their plans for the museum in more detail at Conversations with Curators, June 20. From large Buddha sculptures to delicate hair clips, how you would place these priceless objects in the newly upgraded museum when it reopens?
– Chelsea Werner-Jatzke, Content Strategist & Social Media Manager
Wander into a Chinese scholar’s studio at the Seattle Art Museum to find treasures like a masterfully carved brush pot and a tiny cage to house a lucky cricket. This display of Pure Amusements brings together objects and furnishings collected by scholars as a display of learning, a claim to social status, and an inspiration for reflective thinking.
The Qing period Scholar’s rock on stand, a craggy piece of limestone mounted to a carved wooden base, rewards our contemplation, too. Interesting examples of the scholarly collecting impulse, scholars’ rocks were “favored stones that the Chinese literati and their followers displayed and appreciated indoors, in the rarefied atmosphere of their studios.”¹
A very human desire lies at the heart of this tradition. Who, as a kid, does not build their own killer rock collection? In China, too, people have been gathering rocks for a long time. The Chinese practice of decorating gardens with rocks was in place by the Han dynasty (206 B.C.–A.D. 220). The specific tradition of the scholar’s rock has been traced back to the Song dynasty (960–1279), and it continued through the Yuan (1279–1368), Ming (1368-1644), and Qing (1644–1911) periods.
Before the 20th century collectors referred to them in terms that mean “fantastic rocks.” The type of rock, as well as its texture, form, and color, were all important elements for the collector to consider. Different rocks were most treasured at different moments in history, so the look of these rocks has allowed new scholarship to date them, and also to think about changing tastes in collecting over time. Generally, the darker the color, the more prized the scholar’s rock: black and slate grey were at the top. Limestone came first among rock types not only for its look but also for its sound. Due to its density, it would ring like a bell when struck.²
Scholars’ rocks were used in several senses of the word. Functionally, they might serve as brushrests, inkstones, or censers. But their primary function was to inspire. The form of the rock suggested a mountainous landscape, and like a landscape painting, a scholar’s rock acted as a microcosm of the universe—a small piece of an infinite, natural puzzle—an object on which to meditate and to gain cosmic perspective.³ They would be displayed indoors on a desk, on a table or bookshelf, or perhaps on the floor if they were especially large. Traditionally, a scholar displayed his choice rock on a finely carved wooden stand, both to support the irregular form, and to designate the rock as a special item, like a piece of sculpture.
And sculpted they were. Once chosen from nature, scholars’ rocks were frequently carved, weathered, and burnished to suit their owner’s aesthetic. Collecting a scholar’s rock involved both selection—the finest rock would inherently resemble a painting by the powers of nature—and manipulation—as the scholar imprinted their aesthetic onto the rock form by carving or treating it in some way. There is a fascinating give-and-take here, a loop of influence whose beginning and end is hard to identify. As much as the natural forms of rock, and the mountainscapes they represented, informed styles of scholarly painting, the Chinese literati also made natural rock conform to their vision of a painterly landscape, molding it into their idea of beauty.
I’m reminded of David B. Williams’s reflection in Too High and Too Steep, his account of man-made changes to Seattle’s topography: “We shape the land, and the land shapes us.”⁴
—Jeffrey Carlson, SAM Collections Coordinator
Image: Scholar’s rock on stand, Chinese, Qing period (1644-1912), limestone, 15 ¾ x 8 ¼ in. Seattle Art Museum, Gift of Frank D. Stout, 92.47.326
¹Robert D. Mowry, “Chinese Scholars’ Rocks: An Overview,” in Worlds Within Worlds: The Richard Rosenblum Collection of Chinese Scholars’ Rocks. Exh. Cat. Cambridge, Mass.: Harvard University Art Museums, 1997; 19.
²Mowry, “Chinese Scholars’ Rocks,” 20.
³Mowry, “Chinese Scholars’ Rocks,” 21.
⁴David B. Williams, Too High and Too Steep: Reshaping Seattle’s Topography, Seattle: University of Washington Press, 2017.
Shan Shui, or river and mountains, is a Chinese term for landscape. During the Six Dynasties (220 AD–589 AD) Shan Shui became a popular style of landscape painting as well as referring to a specific form of landscape poetry. In Terratopia: The Chinese Landscape in Painting and Film at the Asian Art Museum you will see examples of Shan Shui painting as the exhibition displays centuries of works to examine the role of landscape as an enduring subject of artistic, philosophical, and environmental reflection from the 3rd to the 21st century. In the paintings of the exhibition, you’ll notice calligraphy on pieces such as Wangchuan Villa(17th Century). The inscription refers to a series of Shan Shui poems by Wang Wei whose country retreat at Wang River is depicted in the painting. Wang’s couplets, focused on the natural landscape of his retreat, are collected, with the poems of fellow poet Pei Di, as the Wheel River Sequence. A sample of these poems, meant to convey imagery and tranquility are below.
No one seen. In empty mountains,
hints of drifting voice, no more.
Entering these deep woods, late sun-
light ablaze on green moss, rising.
Autumn mountains gathering last light,
one bird follows another in flight away.
Shifting kingfisher-greens flash radiant
scatters. Evening mists: nowhere they are.
Flute-song carries beyond furthest shores.
In dusk light, I bid you a sage’s farewell.
Across this lake, in the turn of a head,
mountain greens furl into white clouds.
Perhaps one of the most iconic pieces of writing that begins to unfold a long history of the role of poetry in Chinese landscape painting is written on The Orchid Pavilion Gathering created in 1732 by Chen Fu based on the original work of Wang Xizhi (303-361), the whereabouts of which has been unknown since the Tang Dynasty. This calligraphy is the Lanting Xu (Preface to the Poems Composed at the Orchid Pavilion), written as a preface to a collection of poems generated during the famed Orchid Pavilion Gathering of literati. Read the Lanting Xu to begin your own journey into the poetry associated with the works of art you can see at Asian Art Museum before Terratopia closes.
“First Inscription: In the ninth year of the Eternal Harmony era in the beginning of the last month of spring when the calendar was in kuei-ch’ou , we met at the Orchid Pavilion in Shan-yin, Kuei-chi to celebrate the Bathing Festival. All the worthy men assembled; the young and the senior gathered together. Here were lofty mountains and towering hills, thick groves and tall bamboo. And, there was a clear, rapid stream reflecting everything around that had been diverted to play the game of floating wine-cups along a winding course. We sat down in order of precedence. Though we had none of the magnificent sounds of strings and flutes, a cup of wine and then a poem was enough to stir our innermost feelings. This was a day when the sky was bright and the air was pure. A gentle breeze warmed us. Upwards we gazed to contemplate the immensity of the universe; downwards we peered to scrutinize the abundance of living things. In this way, we let our eyes roam and our emotions become aroused so that we enjoy to the fullest these sights and sounds. This was happiness, indeed! Men associate with each other but for the brief span of their lives. Some are content to control their innermost feelings as they converse inside a room. Some are prompted to give rein to their ambitions and lead wild, unfettered lives. There is all the difference between controlled and abandoned natures, just as the quiescent and the frenzied are unalike. Yet, both take pleasure from whatever they encounter, possessing it but for a while. Happy and content, they remain unaware that old age is fast approaching. And, when they tire of something, they let their feelings change along with events as they experience a deep melancholy. What they had taken pleasure in has now passed away in an instant, so how could their hearts not give rise to longing? Furthermore, a long or short life depends on the transformation of all things: everything must come to an end. An ancient said, “Life and death are the greatest of matters, indeed!” Isn’t this reason enough to be sad? Whenever I read of the causes of melancholy felt by men of the past, it is like joining together two halves of a tally. I always feel sad when I read them, yet I cannot quite understand why. But I know that it is meaningless to say life and death are the same; and to equate the longevity of P’eng-tsu with that of Shang-tzu is simply wrong. Future readers will look back upon today just as we look back at the past. How sad it all is! Therefore, I have recorded my contemporaries and transcribed what they have written. Over distant generations and changing events, what gives rise to melancholy will be the same. Future readers will also feel moved by these writings.”
This is your final weekend to see the historical paintings and the contemporary film work of Yang Fudong in Terratopia before it closes on Sunday, February 26. As it says in the Preface to the Poems Composed at the Orchid Pavilion, “. . . life depends on the transformation of all things: everything must come to an end.”
If all this poetry has you yearning for more landscapes, come to Seattle Art Museum to see Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection, on view through May 23. And keep in mind, the Asian Art Museum is temporarily closing for renovation beginning Monday but installations featuring SAM’s Asian art collection will continue to be on view at the Seattle Art Museum for all to take retreat within.
Images: Wangchuan Villa, 17th century, Wang Wei, Chinese, ink and color on silk, 36 ft x 11 13/16 in., Seattle Art Museum, Eugene Fuller Memorial Collection, 47.142, photo: Mark Woods. The Orchid Pavilion Gathering (detail), 1732, color added 1739, Chen Fu, Chinese, active 1730s, ink and color on paper, 13 1/4 X 25 7/8 In., Seattle Art Museum, Eugene Fuller Memorial Collection, 52.138, photo: Elizabeth Mann.
 “Yu T’ien-t’ai-shan fu” (Fu-poem of My Wanderings on Mount T’ien-t’ai), Wen-hsü an, 2 vols. (Shanghai), Chapter XI, pp 223–227
 Frodsham, J.D. “Landscape Poetry in China and Europe.” Comparative Literature 19, no. 3 (Summer, 1967): pp. 193-215 http://www.jstor.org/stable/1770207
 Wang Wei, The Selected Poems of Wang Wei, trans. David Hinton. New York: New Directions, 2006.
Change management consultant
Dual member since 2011
Why do you love art?
Art makes us ask questions. It makes us stand on our tippy-toes peeking around the painted street corner. It sparks our curiosity. It inspires us, charges our batteries, and makes our souls richer.
What are your hobbies or passions?
In my free time, I explore caves. When you’re in that cave, there is nothing else. The world outside does not exist, because the possibility that you will never see daylight again is always present. In a way, caving is like space travel, the last frontier, the ultimate mission into unknown. The promise that it holds is breathtaking beauty, exploration, adventure, and, of course, discovery of something we didn’t know about ourselves. You’re testing your own limits, you’re watching your every move, and you’re trying to absorb as much as you can from your surroundings. To me, this is very primal.
Do you see any link between your hobbies of cave exploring and art?
I think it’s curiosity, because what I wrote about art is actually what I used to do when I was a little kid. My aunt had a painting of a street corner that veered off and you couldn’t see where it was leading so I thought if I got myself in the right position, somehow I would see the other side of the street. It’s the same thing about caves—it’s searching for the next thing around the corner and just being curious. The curiosity that we have as the human race, I guess.
You’re a change management consultant. What does that mean?
Change management is an emerging field that’s growing here in the Pacific Northwest. We have an international organization where we help organizations to transition. It could be anything from companies moving or implementing new software or having a merger with another company. We help with preparing people for the new world. I’ve been doing this for 7 years.
What’s your favorite SAM location? Do you have a special spot to visit?
SAM’s Asian Art Museum. The museum has such historical value and it’s just so beautiful. The setting in Volunteer Park—and all of it—is just great. I love to visit Monk At The Moment Of Enlightenment. I found looking at the other Asian art that’s exhibited there from that period that you don’t see a whole lot of expression on the face (in general) and he has this expression of bliss that I think is so hard to capture—even for something that is that old and made in wood. That moment of enlightenment that we all hope—well, maybe not all but some of us hope—to maybe live someday. I think it’s a really uplifting piece of art and pretty unique to what I’ve seen. I don’t claim to be an Asian art connoisseur so I just enjoy it.
Yes, we like the things we like. You’ve been a member since 2011?
Yes. I really didn’t realize how easy it is to be a member. I got a gift membership that year and I was thrilled. I just love coming to the museum and it definitely pays in multiple ways. Not just financially. Here you get that sense that art is accessible and that’s really the appeal to me: being a part of it, being able to support it in some way.
If you, like Mariana, love the Asian Art Museum, get enlightened on what’s happening as we begin our renovation and expansion of the historic home of SAM. Members make our world go round and you can help ensure the future of the Asian Art Museum by becoming a member today or making a donation to the renovation of the iconic Art Deco building.
Refined compositions and striking color combinations characterize one of the most recognizable Japanese art forms: the ukiyo-e print. Ukiyo-e are woodblock prints produced during the late Edo period (1615-1868) in Japan. In Tabaimo: Utsutsushi Utsushi, Japanese artist Tabaimo (b. 1975) honors two acknowledged masters of ukiyo-e: Katsushika Hokusai (1760-1849) and Utagawa Hiroshige (1797-1858).
Speaking to their impact on her contemporary work in digital media, Tabaimo explains, “I often copy colors and designs from Japanese woodblock prints by Hokusai, Hiroshige, and others. By adding them to my line drawings, I incorporate ‘distinctive Japanese colors’ and ‘distinctive Japanese designs’ into my work. The strong impression and unique power of the prints becomes part of my work, and allows me to complete my original work. Many of my works use this method of art making.”
Because Tabaimo is looking back to the artists of her culture’s history, borrowing color patterns and design elements, her work feels like the continuation of a conversation. By including some of the same formal elements associated with a traditional Japanese art, Tabaimo picks up that thread of history, honoring it, but also carrying it forward. As her existing and new works are displayed in the Asian Art Museum, interspersed with some of the treasures of SAM’s Asian art collection, we can appreciate even better how art history has informed Tabaimo’s work, the work of contemporary Japanese artists, the work of contemporary digital media artists, et cetera.
Here, we are highlighting one memorable ukiyo-e from Katsushika Hokusai that you’ll find in Tabaimo: Utsutsushi Utsushi. Titled South Wind, Clear Dawn (Gaifu kaisei), the print has been commonly referred to as Red Fuji—which, I have to say, turns my mind to produce, and not landscapes. Nonetheless, we can see why the color of the print has been singled out as the identifying characteristic. The mountain peak is a rich, chocolatey brown, and the snowcap leaks down the mountain into textured trails, like an icing stingily applied. Where the snow trails end, brown fades in a gentle gradient to the soft red for which the print is known. Lower down, an army of conical, gray-blue trees (faded from green) carpets the base of the mountain. With the trees’ diminutive size against imposing Fuji, and the way different arms of the forest reach across the mountain’s base and up its side, they are like an invading arboreal-ant army. The line of the mountain divides the print cleanly into foreground and background, where a deep blue sky fends off rolling clouds.
Part of the series Thirty-six Views of Mount Fuji (Fugaku sanjurokkei), the Red Fuji would stand out from the rest because it was so rare that the mountain would appear with this hue. It only occurred under special conditions, in late summer or early fall, and when the winds were blowing from the south. SAM’s version is from the second printing, notable because the mountain reveals marbled woodgrain, a poetic remnant of the wooden block from which this scene was printed.
As they have for Tabaimo, may the distinctive colors and designs of your histories also lead you forward.
—Jeffrey Carlson, SAM Collections Coordinator
Image: South Wind, Clear Dawn (Gaifu kaisei), from the series Thirty-six Views of Mount Fuji (Fugaku sanjurokkei), ca. 1830-32, Katsushika Hokusai (Japanese, 1760-1849), woodblock print, sheet: 9 7/8 x 14 3/4 in. Seattle Art Museum, Gift of Mary and Allan Kollar, in honor of the 75th Anniversary of the Seattle Art Museum, 2010.15.
The six-panel Crows screen is a monument in SAM’s Asian art collection and also forms an integral part of Tabaimo: Utsutsushi Utsushi, where it serves as a reference point for a digital aviary. In what other company have the Crows flown?
Back in 1936, the exceptional screen featured in a display of Japanese Buddhist Art at the gallery Yamanaka & Co., from which SAM purchased it. In 1953 it mingled with other Japanese painted screens in an exhibition at the Portland Art Museum. Birds, Blossoms, Bees and Bugs—The Nature of Japan (1976) brought the screen to Los Angeles for a look at Japanese art inspired by the environment. Dozens of permanent collection displays at the Seattle Art Museum have flocked around the Crows. A 1994 installation marking the reopening of the Volunteer Park building as the Seattle Asian Art Museum situated the screen among Japanese netsuke, bronze waterdroppers, jewelry, and lacquers. Flights of Fancy (1998-1999) placed it among newer acquisitions of painting and sculpture, while Signs of Fortune, Symbols of Immortality (2000-2001) engaged its spiritual content. A Fuller View of China, Japan, and Korea (2013-2014) considered the Crows among the countless contributions to the museum from co-founders Dr. Richard Fuller and Margaret MacTavish Fuller.
Wherever the words “Asian” and “masterpiece” were used in a show title at SAM, the Crows screen was there. Masterpieces of Japanese Art from the Collection of the Seattle Art Museum (1998-1999) displayed it among some other remarkable Japanese paintings, like the Hell of Shreaking Sounds scroll from the Heian period, and Bokkei Saiyo’s Moonlit Landscape. Care for the Crows took center stage in Five Masterpieces of Asian Art: The Story of their Conservation (2007). Over 2009–2010, they took a rare flight out of Seattle for Luminous Jewels: Masterpieces of Asian Art from the Seattle Art Museum, which traveled to the Suntory Museum, Tokyo; Kobe City Museum; Yamanashi Prefectural Museum of Art; MOA Museum, Atami; and Fukuoka City Museum, before landing back home.
As truly great artworks do, the Crows have spoken loudly in a range of themed and cultural contexts, amid a variety of fellow works. This restless murder continues to spark new and innovative ideas from its perch at the Asian Art Museum.
–Jeffrey Carlson, SAM Collections Coordinator
Image: Crows, early 17th century, Japanese, Edo period (1603-1868), pair of six panel screens; ink and gold on paper, 61 9/16 x 139 5/16 in. Seattle Art Museum, Eugene Fuller Memorial Collection, 36.21.1. Photo: Paul V. Thomas.
Celebrations of spring are happening all around us. It’s opening week for baseball and Masters Tournament time in golf. Here in Seattle, the sun is shining, the flowers are blooming, and all of a sudden it’s like we live in a populous city. You never have a sense for how many people live (and vacation) here until the sun comes out!
Flowers bloomin’ outside of the Asian Art Museum
As wonderful and anticipated as these developments are, today we’re focused on another springtime celebration: It’s Buddha’s birthday!
To be precise, it’s Buddha’s birthday in the Japanese tradition; the same event is remembered on various dates in spring across the world. Many Asian countries commemorate Buddha’s birth on the first full moon of the 4th month in the Chinese lunar calendar (which falls in May). Japan adopted the Gregorian, or Western, calendar in the 19th century and moved its celebration of Buddha’s birthday up to April 8, about a month earlier.
Thankfully for both our regular visitors and out-of-towners, we have a bevy of fine Buddhist art at the Asian Art Museum to help everyone celebrate appropriately. The new installation Awakened Ones: Buddhas of Asia highlights some of the finest representations of Buddha in the museum’s collection, including this stunning wood sculpture coated with gold lacquer. Called an Amida Buddha for its symbolic form, the figure was crafted during the late Heian period (794-1185) in Japan. Its maker used the yosegi-tsukuri technique, carving wood blocks, hollowing them out, and then assembling them together. The Buddha strikes a meditative pose that exudes total peace.
In Japanese Buddhist traditions special connections exist between Buddha and the flower that make celebrating him in the springtime especially appropriate. Hana-Matsuri, the Floral Festival, is a memorial service performed at temples throughout Japan on Buddha’s birthday. Those who make pilgrimages to the temples bring offerings of fresh spring flowers and libations of tea. For its original installation in a Kyoto temple, this Buddha sculpture would have been seated on a lotus pedestal.
The company he keeps in Awakened Ones, where he is surrounded by sculptures and paintings from China, India, Korea, Nepal, and Pakistan, leaves one with a sense for the wide reach of Buddhist teachings and the many ways Buddha is pictured and remembered.
Books and catalogues about the collections and exhibitions at the Asian Art Museum are available at the McCaw Foundation Library. The library participates in an exchange program with museum libraries around the world, providing SAM’s exhibition catalogues in return for theirs. Engaging, beautiful, and diverse, each of these catalogues provides a captivating glimpse into the wider world of Asian art. You are invited to visit the McCaw Foundation Library to enjoy these and more resources to expand your knowledge and understanding of Asian art.
Book Cover: Chŏng-hye Pak et al. Celebrating Events with Banquets and Ceremonies in the Joseon Dynasty. Seoul: National Museum of Korea, 2011.
Celebrating Events with Banquets and Ceremonies in the Joseon Dynasty. Chŏng-hye Pak et al. Seoul: National Museum of Korea, 2011.
The National Museum of Korea celebrated its 100th anniversary in 2009 with the exhibition Scenes of Banquets and Ceremonies of the Joseon Dynasty. The Joseon Dynasty ruled over a united Korean Peninsula for more than 500 years, from 1392 through 1910. This catalogue is rich in visual descriptions of the traditional celebratory feasts, or janchi, which were characteristic events of Korea’s Joseon Dynasty. Celebratory rites and festivities of the Joseon royal court, and celebratory customs among the Joseon people and government officials are rendered in beautiful and exacting detail. Images in the catalogue include photographs and drawings of the special clothing worn to various ceremonies, among them a headdress for a first birthday celebration and a wedding veil. The catalogue includes detailed descriptions of the events, and essays that provide cultural detail and context.
Book Cover: Bromberg, Anne et al. The Arts of India, Southeast Asia, and the Himalayas at the Dallas Museum of Art. Dallas: Dallas Museum of Art, 2013.
The Arts of India, Southeast Asia, and the Himalayas. Bromberg, Anne et al. Dallas: Dallas Museum of Art, 2013.
The Dallas Museum of Art’s collection of South Asian art includes nearly 500 works, including Indian Hindu and Buddhist sculptures, Himalayan Buddhist bronze sculptures and ritual objects, artwork from Southeast Asia, and decorative arts from India’s Mughal period. This book details the cultural and artistic significance of works ranging from Tibetan thangkas and Indian miniature paintings, to stone sculptures and bronzes. Relating these works to one another through interconnecting narratives and cross-references, the text provides a broad cultural history of the region.
Book Cover: Strong, Susan. Painting for the Mughal Emperor: The Art of the Book 1560-1660. London: Victoria & Albert Museum, 2002.
Painting for the Mughal Emperor: The Art of the Book. Strong, Susan. London: Victoria & Albert Museum, 2002.
A unique blend of Indian, Persian, and Islamic styles, Mughal painting reached its golden age during the reigns of the emperors Akbar, Jahangir, and Shah Jahan in the 16th and 17th centuries. This gloriously illustrated book is the first to examine the Victoria & Albert Museum’s remarkable collection of Mughal paintings. The text contains fascinating research, and images include: elaborately detailed battle scenes, scenes of court life, a remarkable series of portraits, studies of wildlife, and decorative borders.
Book Cover: Yiu, Josh. A Fuller View of China: Chinese Art in the Seattle Art Museum. Seattle: Seattle Art Museum, 2014.
A Fuller View of China: Chinese Art in the Seattle Art Museum. Yiu, Josh. Seattle: Seattle Art Museum, 2014.
In 1933, Dr. Richard Fuller founded the Seattle Art Museum and began to exhibit his collection of textiles, porcelain, and Buddhist sculpture. From the beginning, Dr. Fuller’s collection has been particularly rich in Chinese art, notably sculpture; and over time it broadened to encompass a wide variety of art including: Japanese art, Northwest modern art, European and American painting, and decorative arts. This book, written by SAM’s former Foster Foundation Curator of Chinese Art, Josh Yiu, studies the growth of the Chinese art collection, and includes fascinating analysis of single pieces and the collection as a whole. Color plates throughout capture many unique and beautiful pieces that comprise the collection.
The Soul of Anime: Collaborative Creativity and Japan’s Media Success Story. Condry, Ian. Durham, N.C.: Duke University Press, 2013.
The Soul of Anime investigates the rise of anime as a worldwide pop culture sensation. This systematic cultural study was informed by interviews with artists at some of Tokyo’s leading animation studios. It discusses how anime’s fictional characters and worlds become platforms for collaborative creativity, and that it has grown out of a collective social energy. Mostly text, this book takes on a visual phenomenon with eagerness and passion.
Book Cover: Koyama-Richard, Brigitte. One Thousand Years of Manga. Paris; New York: Flammarion, 2014.
One Thousand Years of Manga. Koyama-Richard, Brigitte. Paris; New York: Flammarion, 2014.
Manga originated in Japan in 1814, gained steam in the 1950s, and continues to evolve in today’s popular culture. Earlier echoes of manga can be seen in centuries-old temple paintings and medieval scrolls. This book is a both a textual account of the history of manga and a visual delight. It contains over 400 illustrations – some rare, some familiar, all charming.
Book Cover: Osaki, Tomohiro. Art Will Thrill You!: The Essence of Modern Japanese Art. Tokyo: The National Museum of Modern Art, 2012.
Art Will Thrill You! The Essence of Modern Japanese Art. Osaki, Tomohiro. Tokyo: The National Museum of Modern Art, 2012.
The National Museum of Modern Art in Tokyo celebrated its 60th anniversary in 2012. To mark the occasion, it presented a major retrospective of its Japanese modern art collection. The emphasis on Japanese art of 1950s showcases pieces that transcend genre boundaries, in a period when artists collaborated in experimentation and mutual development. This book includes text in Japanese, and images of paintings, sculptures, and photographs.
Book Cover: Mr. by Mr. Tokyo: Kaikai Kiki, 2003.
Mr. by Mr. Tokyo: Kaikai Kiki, 2003.
Taking his name from the national baseball superstar Shigeo Nagashima’s alias “Mister,” Mr. began as the protégé of Takashi Murakami, and has worked as an artist for over eight years. Mr.’s works are “Japanese” in their anime-inspired, large-eyed characters and flat color fields. This book is written in Japanese and contains full-color images of painting, and black & white photographs.
– Kate Nack, Library Volunteer, McCaw Foundation Library for Asian Art
Conservator Tomokatsu Kawazu studies Japanese paintings at SAM for the Mellon conservation survey
In 2013, the Seattle Art Museum received a generous three-year grant from the Andrew W. Mellon Foundation in support of programs and initiatives in Asian Art. We dedicated the grant to two important areas for any museum: conservation and curatorial work. Through the grant, we will foster even better understanding of SAM’s rich Asian art collection and we will also forge new relationships with Asian museums, curators, artists and scholars. With these aims in mind, SAM staff visited a select number of partners in Asia last year and we welcomed two fascinating visitors in October 2014 in connection with this project.
Conservator Tomokatsu Kawazu examines a painting on the light table for the Mellon Survey
A major goal of the Mellon grant is to conduct a comprehensive conservation survey of SAM’s great collection of Japanese painted scrolls and screens. The funding enables us to bring Japanese paintings conservator Tomokatsu Kawazu to SAM two times per year for the next three years to document the Japanese paintings collection, with specific focus on the materials and preservation state of each painting. In early October, Mr. Kawazu was at SAM for the first residency, during which he conducted a marathon evaluation of seventy-one Japanese paintings in two short weeks. Working closely with Chief Conservator Nicholas Dorman, Collections Care Manager Marta Pinto-Llorca and Project Coordinator Rachel Harris, Mr. Kawazu examined each painting, documenting its condition with detailed notes and close-up images. In spring 2015, Mr. Kawazu will return to evaluate a second group of Japanese paintings. Two important spin-offs of the survey are that the grant enabled us to set up a work station, equipped with the highly specialized tools and materials of the Asian paintings conservator. We are also able to take new photographs of all the surveyed objects, with SAM conservation staff shooting macro shots, inscriptions and other details and photographer Spike Mafford taking high-resolution shots of a selection of paintings.
Spike Mafford and his assistant photographing paintings for the Mellon survey
Ukiyoe, Figure of a woman, Eugene Fuller Memorial Collection, 33.1689. The Mellon conservation survey provides unprecedented documentation and new photography of works like this that hail from the earliest days of the collection
The curatorial track of the Mellon grant is also moving ahead. While Mr. Kawazu was examining Japanese paintings, Eunju Choi, Chief Curator of the Museum of Modern and Contemporary Art, Korea (MMCA) was also in residence at SAM. The Mellon grant provided funds to bring Ms. Choi to Seattle so that she could begin planning an exhibition with Xiaojin Wu, SAM’s Curator of Japanese and Korean art. Tentatively planned for late 2015, this exhibition will offer Seattleites a look at contemporary Korean art never before seen in our city.
In very different ways, the conservation survey and the new curatorial collaborations give a terrific boost to our collection legacy and our Asian programs, we look forward to sharing its progress with you over the next two years.
Project Coordinator for Asian Art Collaborations
Curator of Japanese and Korean Art
Conservator Tomokatsu Kawazu and project coordinator Rachel Harris work on the Mellon survey to document the condition of Japanese paintings
Plants and animals of exceeding beauty and technical intricacy appear throughout Japanese design. The natural world is deeply rooted in the DNA of Japanese design, and is transmitted down through generations. Over the past few centuries, artists have begun reimagining traditional subjects in modern forms.
Nature and Pattern in Japanese Design, a new installation of Japanese art, celebrates the motifs of the natural world in folding screens, fan paintings, hanging scrolls, ceramics and lacquerware from SAM’s collection. On view at the Seattle Art Museum starting December 21.
Asagao no tane (Vine with Morningglory Seed Pods), 19th century, Shibata Zeshin (Japanese, 1807 – 1891), lacquer and color on paper, 6 13/16 x 19 3/8 in., Eugene Fuller Memorial Collection, 61.80.1. On view in Nature and Pattern in Japanese Design, Asian art galleries (new!), third floor, SAM Downtown, opening Saturday, 21 December.
Science and technology were the stated focus of the Seattle World’s Fair as a whole, while a subtler, though equally compelling, argument was made for the celebration and understanding of Asian art and culture within the Fine Arts Pavilion. The Art of the Ancient East was one of the Pavilion’s six exhibitions, and it introduced visitors to some of the greatest masterpieces of Asian art. This focused exhibition shone a spotlight on Asian art and artisans, proving this artistic heritage equally as brilliant and varied as Europe’s.
These masterpieces traveled across continents and seas, from one millennium to another. And yet, to arrive at the World’s Fair grounds, they traversed just over one mile: This exhibition was one of two installations at the Fine Arts Pavilion drawn entirely from the Seattle Art Museum’s holdings. The show included representative works from a dozen nations, including (in this photo) Pakistan and India.
What were considered masterpieces 50 years ago remain so today. Last year’s exhibition Luminous: The Art of Asia included nearly every work from Art of the Ancient East. Luminous, however, reflected the changes in the world over the past 50 years. Chief among the differences was the museum’s collaboration with artist Do Ho Suh, who not only guided the interpretation of the SAM Asian collection, but produced a brand-new work of his own in response. This imagining of the “life” of objects is an element that could not—and would not—have been considered 50 years ago.
Finally a New Year’s resolution that will be fun to try and keep–come experience the art at SAM Downtown, the Seattle Asian Art Museum and the Olympic Sculpture Park! Here are our top five picks for what to see and do with SAM in January.
2. Take a spin in Theaster Gates: The Listening Room.
Visit the “church of wax” at SAM Downtown and touch, feel and play the records (yes-vinyl records!) in this installation at SAM Downtown. The Listening Room also extends beyond the walls of the museum to a storefront in Pioneer Square called the Record Store, where you can be part of a listening party.
3. See a unique perspective of 1930s Seattle. Painting Seattle at the Seattle Asian Art Museum features two painters, Kamekichi Tokita and Kenjiro Nomura, known in 1930s Seattle for their American realist style of landscape painting. They shared the cultural legacy of Japan and the active cultural life of Seattle’s Japantown, while they found a public audience for their work in mainstream art institutions and participated alongside the city’s advanced artists, such as Mark Tobey, Ambrose Patterson and Walter Isaacs.
4. Get ready for Gauguin & Polynesia: An Elusive Paradise.
Seattle Art Museum presents the only United States stop for this landmark show highlighting the complex relationship between Paul Gauguin’s work and the art and culture of Polynesia. The exhibition, on view at SAM Downtown February 9 through April 29, includes about 50 of Gauguin’s brilliantly hued paintings, sculptures and works on paper, which are displayed alongside 60 major examples of Polynesian sculpture that fueled his search for the exotic. Organized by the Art Centre Basel, the show is comprised of works on loan from some of the world’s most prestigious museums and private collections. Buy your advance tickets now!
5. Celebrate the Olympic Sculpture Park’s 5th Birthday Party. Five years ago Seattle’s waterfront was transformed forever. Come to the Olympic Sculpture Park on January 21 to help us mark this very important milestone with food, art and other activities.
Combine some of your other New Year’s resolutions with art. Trying to exercise more? Take a walk through the Olympic Sculpture Park or ride your bike to the Seattle Asian Art Museum. Looking to save money? Take advantage of First Thursdays or SAM’s suggested admission, which allows you to pay what you can. Art can even help you decrease stress.
SAM is always happy to connect art to your life, and we look forward to seeing you more in 2012!
Invited to provide a contemporary response to the historical material, internationally recognized artist Do Ho Suh created a new multimedia installation for the exhibition Luminous: The Art of Asia, on view at SAM Downtown until January 8, 2012.
Born in Korea and presently living in New York and London, Suh is the creator of the Seattle Art Museum’s famed dog-tag sculpture Some/One. Over the past year Suh and SAM have engaged in a dialogue on topics such as eastern philosophy, East Asian painting, the contemporary art scene, and art museum practices.
Suh’s installation, titled Gate, was commissioned exclusively for Luminous and transforms one of the artist’s existing fabric pieces into a screen for projection as well as a space of transition.
“Like the moment of enlightenment in Zen Buddhism, passing through a gate takes only a split second, and then it’s over,” Suh explains. “But so many things happen in such a short period of time. With this work, I wanted to extend that moment of passage, to delay it, if only for an instant, to provide the viewer that moment of insight.”
“Our notion of emptiness is quite different in the East,” Suh explains. “The void is not empty or bleak but charged with meaning.”
Watch the videos below to hear more from Suh, to see Gate in action and to take a behind-the-scenes look at the installation of the piece.
Apropos the fabulous Golden “Bamboo and Poppies” Kanō school screens, and the other famous and beloved screens currently displayed in Luminous: The Art of Asia, the Seattle Art Museum’s collection of approximately 70 Asian screens, has been recently rehoused in the best state-of-the-art storage cabinets available thanks to a generous federal grant from the Institute of Museum and Library Services (IMLS).
SAM’s significant collection of Asian screens includes paintings of singular artistic and cultural importance. The screens range in date from the sixteenth century to the twentieth century. Together with our collection of hanging scrolls, they convey to visitors an experience of splendid art and vivid impressions of the story of painting in Japan, China and Korea.
Although SAM’s collection has a handful of Chinese wood, lacquered and cinnabar panel screens, the bulk of the collection is comprised of Japanese and Korean painted screens. The Japanese screens at SAM fall into two categories, the byōbu, or folding screens (from two up to eight panels) and the fusuma, or sliding screens, typical partitions used to divide large rooms in temples or castles. Both of these styles are represented in Luminous.
Hattie Branch, Blakemore Intern, returns to SAMart with an entry on the golden screens of the Kanō School.
During the Momoyama Period (1573-1603), drastic change came to Japanese art from an unusual source: Western firearms. As warlords vied for control of the country, Portuguese traders introduced Western guns and cannons to Japan.
For centuries, Japanese palaces had been built as sprawling, single-story complexes, with wooden floors and roofs, and paper walls. Sliding doors allowed rooms to open easily to the surrounding gardens, and even when shut, light permeated the thin paper. With the advent of firearms, by necessity, the Japanese rapidly designed towering fortress palaces. Walls thick enough to withstand cannon fire suddenly plunged the world of the elites into darkness.
After traveling to China in 1913, Hirai Baisen began to incorporate traditional Chinese subject matter into his modern Japanese painting practice. The white-walled buildings and the boats of the left-hand screen identify this as a Chinese landscape setting. Baisen, more widely known for his rich use of color, explored the expressive possibilities of ink on paper in this dramatic pair of six-panel screens.
This painting was recently installed in the Asian Art gallery at SAM downtown.
Chinese Landscape (detail), ca. 1925, Hirai Baisen, Japanese, 1889-1969, ink on paper, 67 1/4 x 148 1/2 in., Gift of Griffith and Patricia Way, in honor of the 75th Anniversary of the Seattle Art Museum, 2010.41.52.1-2, Photo: Eduardo Calderon. Currently on view in the Asian Art gallery, third floor, SAM downtown.