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* 0 111 ; zmm mm f-3tum F 1 g 2006 2 Director's Letter Details 4 an inside view Up Close and Behind the Scenes Portugal discovers America in a festival of exhibitions; Kenny Endo drums up the spirit of Edo in honor of Hokusai ; Gwyn Hanssen Pigott makes arrangements at the Freer; and a glimpse into how we light up the galleries. Exhibitions „ O hokusai: mad about art Hokusai thought that if he lived to be 100 his work would be perfect, and if he lived beyond that, transcendent. ART/HISTORY Photographer Hiroshi Sugimoto’s site-specific installation for the Sackler featured his original photographs as well as ancient Japanese artifacts and fossils. We visit Sugimoto at his New York studio. 28 IN THE BEGINNING: BIBLES BEFORE THE year 1000 Charles Lang Freer made three trips to Egypt between 1906 and 1909, and acquired ancient biblical manuscripts, many of which have rarely been exhibited. FACING EAST Portraits from Asia and the ancient Near East are steeped with issues of identity and power. Facing East crosses cultures to illustrate the way portraits were created— and used—throughout Asia. Acquisitions fire AND water An ancient Chinese lamp and ewer are the latest gifts from the Arthur M. Sackler Foundation in New York. 50 the hauge ceramics From ancient vessels to whimsical animal-shaped pots from medieval Cambodia, the Hauges collected some of the most spectacular ceramics in the world. Focus 52 outreach Out of the Galleries and Beyond the Walls Extreme Makeover for a Conservation Studio in Cambodia; Contemporary artist Simryn Gill weaves a necklace for the Perspectives series; Fashion Ottoman-style hits the museum. ..and the runways. Endnote FROM THE archives A tale of two buildings: An early 20th-century sketch on hotel stationery of the Freer contrasts with a late 20th-century architectural rendering of the Sackler. Annual Record 2005 [ NOTE TO THE READER; FOR CREDIT INFORMATION SEE FINAL PAGE.] Director’s Letter FOUNDING FATHERS One hundred years ago, Charles Lang Freer gave his collection of Asian and American art to the Smithsonian Institution. And in the years before his death in 1919, Freer worked with architect Charles Platt to create the elegant structure that in 1923 would become the first art museum on the Smithsonian campus. Today, the Freer Gallery of Art retains an aesthetic sensibility of cool repose and remains a destination for lovers of art. The Freer’s centenary year began with an unprecedented exhibition focused on Katsushika Hokusai, whose Great Wave has achieved iconic status yet only partially represents the artist’s legacy. Hokusai’s abiding desire was to live to be one hundred years old — the age, he thought, that his work would reach perfection. How fitting then to celebrate our centenary by highlighting this artist’s work. More than one hundred eighty works from the Freer and an interna- tional group of museums, libraries, and private collections depicted Hokusai’s entire career —from his days as a young our cosponsor, Nihon artist to his last year of life, when he was still active at the age of ninety. In partnership with Keizai Shimbun, and the Tokyo National Museum, which presented an earlier iteration of the show last fall, we were able to unite the Freer’s treasures and other Hokusai masterpieces for the first time. the year he gave his art col- That this exhibition opened to the public on these premises is no accident. By 1906, of Hokusai paint- lection to the nation, Freer had already amassed the world’s largest and most impressive grouping of art. Only after the Arthur ings. But he imposed strict restrictions on his gallery: it could neither borrow nor lend works of the Smithsonian M. Sackler Gallery opened in 1987 were those restrictions modified. Six years ago the Regents Institution determined that the neighboring Sadder could borrow objects from the Freer on a temporary basis. Thus, without the Arthur M. Sackler Gallery, the Hokusai exhibition would never have been realized. Indeed, the opportunity afforded by the Sackler allowed public and scholars alike to discover the true aesthetic value of Freer’s Hokusai paintings. That dialogue between our founders will guide us through this centennial and in the years to come. It certainly will come into play this fall when In the Beginning: Bibles Before the Year 1000 opens at the Sackler, highlighting Freer’s masterpieces as well as manuscript pages from other museum and private collections, particularly the Bodleian Library at Oxford University. The exhibition will present some of the earliest biblical artifacts in existence, including the painted covers of the Freer’s own Washington Manuscript of the Four Gospels, depicting Saints Matthew, Mark, Luke, and John. Lest you think we are focused only on the past, let me assure you that our contemporary exhibitions are thriving. This spring Hiroshi Sugimoto presented History of History at the Sackler, an examination of his own photography and his collection of historic and, in some cases, pre-historic Japanese art. Our centenary celebration also looks forward with installations by Australian potter Gwyn Hanssen Pigott, whose (re)arrangements of ceramics from the collection will echo some of the aesthetic principles of form, color, and texture that guided Freer’s vision. Both Sugimoto and Pigott reflect one of our driving aims — to show the connections between our diverse collections, the past and the present, and the familiar and the unknown. JULIAN RABY DIRECTOR'S LETTER 3 ASIATICA FS|G 2006 Details UP CLOSE + BEHIND THE SCENES When Portugal Was the World A FESTIVAL OF EXHIBITIONS SETS SAIL FOR THE SACKLER IN 2007, BRINGING PORTUGAL TO THE MALL In the sixteenth and seventeenth centuries Portugal sent her ships to Africa, India, China, Japan, Southeast Asia, and Brazil in search of slaves, gold, and spices and the other foundations of its commercial and colonial empire. The meeting of cultures that resulted inspired the creation of never-before-seen works of art. Intricately carved ivory saltcellars, produced by African master carvers for trade with the Portuguese, and Japanese Namban screens depicting Europeans from an Asian perspective were among the diverse objects that ended up in ‘‘cabinets of wonder,” the forerunner of modern museums, and princely kunstkammers, collec- tions of natural and manmade exotica. Encompassing the Globe: Portugal and the World in the 16th and 17th Centuries reveals the cross-cultural dialogue that de- veloped as Portugal established her global trading network. The more than three hundred paintings, sculptures, manuscripts, maps, early books, and other objects assembled for the exhibition provide a rich image of a “new world” during its for- mation. On view in the Arthur M. Sackler Gallery and the neighboring National Museum of African Art in summer 2007, Encompassing the Globe will create galleries of wonder and recall a time when Portugal put her stamp on the world. Facts and Figures 2006 HAD A SCALE MODEL OF ONE OF THE SHADES CONSTRUCTED OF WOOD GLASS AND ALUMINUM WERE RE- BY GAS. © TWENTY-FOUR ORIGINAL © THE DIRECTION AND INTENSITY "PAINTING GALLERIES” CONSTRUCTED AND CANVAS SAIL CLOTH IN THE INSTALLED IN THE ATTIC IN THE LIGHTING FIXTURES HAVE BEEN OF NATURAL LIGHT ENTERING THE ON THE ROOF OF HIS APARTMENT ATTIC SPACE. THESE SHADES WERE 1990S. THERE ARE FOUR HUNDRED RESTORED IN THE FREER GALLERY. ALL OF THE FREER AND FREER EXHIBITION GALLERIES IS BUILDING IN NEW YORK SO HE COULD REMOVED IN THE LATE 1950S WHEN AND TWELVE MANUALLY ADJUST- © WHEN DYNAMIC AND CHANGES ACCORDING OBSERVE HOW NATURAL LIGHT AIR CONDITIONING DUCTWORK WAS ABLE SHADES IN THE ATTIC. © SACKLER GALLERIES ARE OPEN, THERE ARE APPROXIMATELY THREE TO THE TIME OF DAY, WEATHER, AND ENTERED THE ROOMS. © WHEN IT INSTALLED. © NEW DAYLIGHT THE CEILING-MOUNTED ELECTRIC ADJUSTED SEASON. © FREER GALLERY OF FIRST OPENED, THE FREER GALLERY CONTROL SHADES CONSTRUCTED OF LIGHTING FIXTURES IN THE PEACOCK THOUSAND INDIVIDUALLY ART ARCHITECT CHARLES PLATT OF ART HAD DAYLIGHT CONTROL FIRE-RESISTANT VINYL-COATED FIBER ROOM WERE ORIGINALLY POWERED SOURCES LIGHTING THE EXHIBITIONS. DETAILS 4 ASIATICA FS|G 2006 a Still Life with Pickle Jar POTTER GWYN HANSSEN PIGOTT ARRANGES CERAMICS What happens when an creams. Curiously, her approach was sympathetic to the taste of founder FROM THE FREER’S PERMANENT COLLECTION artist renowned for arranging Charles Lang Freer, who had collected many of the objects a century earlier, meditative, off-white porce- heeding his own aesthetic instincts. "I began tentatively with some key pieces lain pots gains access to the Freer Gallery’s collection of ancient ceramics? that would set a tone or emotion for a group,” Pigott says. Settling on a Recently Gwyn Flanssen Pigott, an Australian artist whose career spans almost squat carved Chinese jar, she set off in search of additional group-mates— five decades, spent an afternoon sequestered in the Freer's ceramics storage pots with tones of cream, yellow, brown, and white. “They needed to have area, assembling several of her trademark "still lifes” from the gallery’s per- a certain austerity, warmth, and domestic familiarity,” she explains. She manent collection. "Pots— useful, everyday, ordinary pots— have for most of studied her options, shifting vessels from one position to another, searching my life been my daily pleasure mines,” she once said. And it was no differ- for the perfect blend of shape, height, and interstitial space. Within moments, ent at the Freer. Ignoring the usual art historical categories— date, place of Pigott had wrought her ephemeral magic. The nine ancient vessels had origin, and even ware—she mined the collection for color, shape, pattern, been reconfigured into a single composition— minimalist in aesthetic, and relationship. Persian and Chinese. Bowls and bottles. Gray-blues and modern in idiom, and newly christened as Still Life with Pickle Jar. Endo on Edo HAWAIIAN-BORN DRUM MASTER KENNY ENDO FILLS THE SACKLER WITH THE RHYTHMS OF HOKUSAI'S JAPAN Poised before two barrel-sized drums, each hand gripping a drumstick, Kenny Endo raised his arms above his head, brought them abruptly down, and began to pound with all the physicality of an athlete. During Endo’s tenure as artist-in-residence, the becalmed galleries thrummed with the percussive echoes of festival and theater music from Edo-period Japan. Composer, performer, and taiko master, Endo shared his passion for music and served as an unofficial ambassador of sound during the Hokusai exhi- bition. For a traditional lion dance, Endo donned a golden-colored costume, hid his face behind a mane-trimmed mask, and gnashed his teeth— benign gesture that conferred good luck on his audience. “I hope to pro- vide a musical experience that speaks to our modern world, where the meaning of borders, nationality, and culture are changing everyday,” he said. HOKUSAI HOKUSAI THOUGHT THAT IF HE LIVED TO BE ONE HUNDRED, HIS WORK WOULD BE PERFECT AND IF HE LIVED BEYOND THAT AGE, TRANSCENDENT EXHIBITIONS 9 ASIATICA FS1G 2006 — more intriguing than the image of a man so unsettled that at the end of his long life he had lived in ninety-three places? Or an artist who changed his professional name so often that one of his contemporaries re- marked “no artist ever had more names”? And how can one resist the determination of one who, on his deathbed and with fal- tering breath, implored the gods to grant him an extension of just five or ten more years — so that he might yet become a true artist? Even an inventory of this man’s possessions — one earthenware pot, two or three teacups, and a single cotton robe exerts a curious hold on the imagination. In approaching the art of Katsushika Hokusai (1760-1849), one of Japan’s most renowned artists and the focus of an exhibition at the Arthur M. Sackler Gal- lery this past spring, it is tempting to linger over the engaging and eccentric facets of his life. Indeed, such colorful images provide ready toeholds as one attempts to grasp the scope of a visual master endowed with boundless creative energy and technical virtuosity. “He was seemingly oblivious to the practicalities of everyday life. Not because he was ab- sent minded, but because he was single- minded in his devotion to uncovering the truth through the use of his brush,” says James Ulak, deputy director of the Freer HUMANITT Gallery and Arthur M. Sackler Gallery. Hokusai had an abiding desire to HimlffiiM Throughout his long life as excel — not in a competitive, worldly way an artist, Hokusai created but as a means of sharing. “For Hokusai, prints, illustrations, and transmission was what art was all about,” sketches that encompass says Roger S. Keyes, visiting professor in a vast range of humanity. East Asian studies at Brown University, His human subjects in- and a consultant for the Hokusai exhibi- clude the peasants, mer- chants, artisans, monks, tion. “It’s what he got out of art, and it’s entertainers, and warriors what he hoped to accomplish through he must have observed in art. It was about transmitting the convic- his daily life in the bustling tion of what he knew through his experi- metropolis of Edo. Hokusai ence to others.” was a master in portraying The sheer volume of Hokusai’s brush- people of ail ages engaged work beggars both the imagination and in every activity, and was especially sympathetic to the intellect. Over the course of seven the lower classes of Edo. decades, which included occasional peri- a '.' s'! ililllfliPfSay 1 gjgaggfe * » iS.-s B a ao a 9 ® ,S !* U -**3/ S«»)aaB»®**A€rt**fc £ i kiniAi 3;:!s:r.s 5WS! *fe i:iRs*n^es» ’>)'• T§« t BBS* S'« it *.- 1 *’ Sbsusbbibs^-Ai; f 4 .!§• B H Bit 2£s|®! |W»«BP ae»«®553®!JJ P I8**RO*B383®2J0|! ;,> FMbsse seaflC . ..• Q 'g«B8t=a»aB« 3r a B HBaat B3D8SBJF®, ;: Kg Bse mBpeemgSSa § S*»*B “^SSSmSa Jpifjfl::::& t-8 !*• . vr«*v EXHIBITIONS 11 ASIATICA FS|G 2006 — ods of profound personal distraction, this LITERATURE & LEGEND “man mad about painting,” as he called himself, created an estimated thirty thou- Hokusai's extensive knowl- sand images — and wrote novels and edge of Japanese and poetry as well. He turned out ink draw- Chinese literature became ings, paintings, and prints that varied a rich source of subjects for greatly in both subject and format' his paintings, prints, and book illustrations. In illus- actor portraits; landscapes; beautiful trating some two hundred women; the spiritual and supernatural; seventy books, Hokusai legendary figures and historical tales; still became intimately familiar life; nature, including birds and flowers; with contemporary fiction, erotica; surimono (highly refined, pri- from the lowest level, where vately commissioned prints); fan paint- he began his career, to suc- ings; manga (“random sketches”); illus- cessful collaborations with trated albums, books, poetry antholo- leading authors. He was also interested in contemporary gies, and novels; teaching manuals for poetry, especially the witty artists, and even performance art. His poems known as kyoka illustrated books alone number some two (mad verse). hundred seventy volumes. “There is so much you have to look at before you get a sense of this artist,” says Keyes. “I’ve never caught up with him.” fflTHE ARTIST AND THE COLLECTOR In the 1850s — the decade after Hokusai’s death—Japan was opened up to the West and paintings and prints began to flow to Europe and into America. Over the next fifty years, Hokusai gradually emerged in Western eyes and in the Western imagina- tion as the Asian artist par excellence. Much has been written about his influ- ence on designs of European and Amer- ican artists in the late nineteenth century. Indeed, in Vienna, at the 1873 interna- tional exhibition, a major exhibition of Hokusai works underscored the high degree of popularity that he enjoyed in the West. Ironically, perhaps, it was West- erners who organized the early and major exhibitions of Hokusai — both in Japan and in the West. But through most of the last century, beyond a relatively small group of researchers and collectors, the artist was largely identified in the popular imagination as a print designer. His most famous work, The Great Wave from the print series Thirty-six Views of Mount Fuji (circa 1830-33), is virtually synony- mous with Japanese art — and so ubiqui- tous that it can be found almost anywhere that ink can adhere to a surface — from tote bags to magnets. While others focused on Hokusai’s prints, Charles Lang Freer trained his pre- scient eye on the artist’s paintings, form- ing in little more than nine years what is now recognized as the single largest group of Hokusai paintings in any collection in the world. The year 200 6 marks the cen- tennial of Freer’s gift to the nation— a gift THE NATURAL WORLD Flowers, birds, and animals appear frequently in Hoku- sai’s prints, book illustra- tions, and paintings. Land- scape, like flowers and birds, has deep historical roots in Japanese painting, but it did not become a major inde- pendent subject of ukiyo-e prints until the successes of Hiroshige and Hokusai in their Tokaido and Mount Fuji series of the 1830s. Hokusai, however, began to incorpo- rate landscape elements into perspective prints as early as 1788, and landscapes also appear in his illustrations for poetry books and surimono. EXHIBITIONS 13 ASIATICA FS|G 2006 that increased from an initial few thou- sand works in 1906 to ten thousand at the time of his death in 1919. In that first gift package was, extraordinarily, not only the collection of Hokusai paintings but also the largest collection of works by James McNeil Whistler. Freer’s offer was resisted by the Smithsonian, but after three years of petitioning and finally the inter- vention of President Theodore Roosevelt, the science-oriented institution embraced the reality. Scholarly attention in the last century has favored Hokusai’s prints and illus- trated books, relegating the paintings to a dubious status. In recent decades, with increasing interest in Hokusai’s paint- ings, Freer’s collection has acquired new stature. Doubts about the works’ authen- ticity have, in almost every case, been fa- vorably resolved. Because Freer’s will stip- ulates that artworks cannot be loaned, Hokusai provided an historic opportuni- ty to view forty-one of the gallery’s finest Hokusai paintings, many rarely seen be- fore, in the context of the artist’s other masterpieces from museum, library, and private collections in Japan, the United States, and Europe. The more than 230,000 people who visited the Sackler Gallery for Hokusai and the 330,000 in THE NATURAL attendance at the earlier Tokyo National WORLD Museum iteration of the exhibition (which did not include the Freer holdings) attest Observation of nature, especially of phenomena to the enduring popularity of and interest such as moving water, light, in the artist. One hundred years after atmosphere, and optical Freer’s gift, the Hokusai collection has effects, underlies many of come into its own. Hokusai's paintings, prints, and illustrations of land- scapes, plants, animals, MAKING WAVES and birds. Nonetheless, the realism that seems innate to many of these works is a Hokusai was someone with a very deep carefully wrought illusion. sense that wherever he was, it was not the Most, in fact, combine ele- final place — he was always looking for ments of perception and beyond. an individual- something He was imagination. Regardless of ist whose art seems infused with a sense medium, these works reveal of irony, hauntedness, and search for how Hokusai’s mastery of meaning. His prolific productivity, his techniques for linear and tonal definition of texture cherished independence, and his ground- and form combines effec- breaking visual techniques suggest a man tively with elements of de- who was obsessed with something other sign, including meticulous than money or social standing. Then, as composition and unique artists now, there were scores and scores of manipulations of color. who were content with the status quo, satisfying rather than challenging the expectations of their viewers. Not so Hokusai. Consider, for example, the con- trast between two prints of waves, creat- ed within several years of one another. In The Great Wave Hokusai presents a rather generous vision of sweeping waves with Mount Fuji in the distance. A print he cre- ated only a year or two later offers a claustrophobic alternative: In Choshi in EXHIBITIONS 15 ASIATICA FS|G 2006 Shimosa Province (circa 1833-34, from the series One Thousand Pictures of the Ocean) the waves cleave to a sharp diago- nal line, crashing against the jagged rocks and shoals. A second, distant fishing boat offers none of the reassuring stability that Mount Fuji provides in the earlier print. “There is no escape. Visually, Hokusai doesn’t allow it,” says Ulak. “He seems to say, ‘Well, you were comfortable with The Great Wave ? Now, I’ll give you something to be afraid of— a darker vision, a sense of being trapped.’ Why would Hokusai have done that? Not to make the viewer feel comfortable. You can always expect him to pull the rug out from under you.” mTHE ARTIST AS PERFORMER Hokusai’s searching restlessness, as evinced by the shifts in style and name, subject matter and audience, reflects his enor- mous capacity for self-renewal. “His demon, in a way, was that he always reached a point where he was becoming a caricature of himself,” observes Keyes. “He got facile — sort of like Picasso, who really struggled with that problem. But Hokusai found a short cut. Whenever he was in a rut, he changed. He just started doing something completely different.” Hokusai seemed almost playful about the elusiveness of his public persona, on the one hand disappearing from patrons, publishers, and an admiring public and on the other engaging in feats of artistic bravura. In 1804, at the age of forty-four, he decided to produce — at the Gokokuji in Edo—what he believed would be the largest painting ever created. On the day of the performance his assistants rolled out an expanse of paper fifty-five feet long and thirty feet wide —pieced togeth- er from smaller sheets of paper. At Hoku- sai’s signal, a team of assistants, dressed in black, began to scramble around the THE SPIRITUAL & jerry-rigged canvas, wielding brooms for THE SUPERNATURAL paintbrushes and working from tubs of ink — presumably following an outline Like many of his contempo- sketched by the artist. “The spectators said raries, Hokusai’s religious it was the damndest thing— these people beliefs came from several running all over the place,” Keyes says. sources— Buddhism, Shinto, When the ink had dried and the painting North Star worship, belief in was finally hoisted aloft, the assembled Chinese Daoist and popular crowd beheld the head and shoulders of deities, and animism. Chinese and Japanese supernatural the Bodhidharma, the Indian patriarch of beings with magical or protec- Zen Buddhism. tive powers also appear among “Here, Hokusai is a performance art- his images, as do haunting ist, right? So then he said, ‘You think that’s depictions of dragons, which great? Well, check this out!’ The next day were especially significant to he got a grain of rice and, with his one-hair Hokusai as auspicious sym- brush, drew two flying sparrows [on it]. bols of the cyclical year of Isn’t that great?” his birth. THE LAST TEARS “Though as a ghost, I shall lightly tread the summer fields." This was the last haiku Hokusai wrote before his death in 1849. When Hokusai was eighty-eight years old—an auspicious age— he created a large seal with the single character of hyaku, meaning "one hun- dred,” which he used for the rest of his life. Even in his late eighties, Hokusai maintained his ability to create concept- ually, stylistically, and aes- thetically sensitive works that often seem to embody his own thoughts as he tried to keep death at a distance. EXHIBITIONS 17 ASIATICA FS G 2006 | '! feel less like a photographer and more like the painter who first started painting his vision onto a cave wall." i „. , . V- r , 4 SfflsttSa^: - art/history AboutArt Previous pages: Black Sea: Ozuluce, from the Seascape tury); Lion Dais Reliquary (13th-century lion and 14th- series (silver gelatin print, 1992); Sugimoto in his New century reliquary, 2003); a jasper “Wheelstone” from York City studio. This page, clockwise from top left: Henry the Kofun period, 4th century. Opposite page: Treasure VIII and His Six Queens (gelatin silver prints, 1999); Pagoda with Seaview Crystal Ball (13th-century pagoda, Kasuga Deer Mandala (hanging scroll from the 15th cen- crystal ball, plastic lotus dais, and wind chimes, 2003). EXHIBITIONS 20 ASIATICA FS|G 2006 r “The reason I started collecting' fossils actually ip t cpb with own photography, I found out that fossils work the: same way as photograp Fossils are pre-photography time-recording devices.” Lv - TO 1 Ml? Ik . ML wlk : v t . x k ^ i •• ^ | V' > ' \ I \ A V- N ' ' T: .. ; % . ; iU- V - About History hanging scroll On the previous pages: Kegon Waterfall, Japan (gelatin Monju Bosatsu (the Bodhisattva Manjusri ; silk with colors); Female Shinto silver print, 1977); Mississippian Sea Bottom (fossil). from the 13th century, following This page, clockwise from top left: Time's Arrow (sea- Deity (wood with colors, 12th century). On the storage area in scape from 1987, 13th-century reliquary fragment); El- pages: Hiroshi Sugimoto’s workroom and derly Warrior Mask (wood and lacquer, 13th century); his studio; Sugimoto in his specially designed darkroom. EXHIBITIONS 24 ASIATICA FS|G 2006 •• ' ' •7 , ft" I i J- :# i p. fPQI L . 1 : i isnsif - x ' “Usually photographers try to capture the image outside of him or herself, but in my case I am trying to project my own inner vision onto the screen of reality." When you stand before one of Hiroshi Sugimoto’s black-and-white seascapes, your eye tends toward the horizon line, often right in the middle of the photograph. That sense of finding the meeting point of two halves is intrinsic to the artist’s work and life. “I was half made in America and half made in Japan;' Sugimoto says. “I use that experience to create my art.” An exhibition of selected works from Sugimoto’s artistic renderings of meeting points— between the past and present, East and West—was on view in the Sackler Gallery from April through July 2006. His studio is on the eleventh floor of a century-old industrial loft, a former bookbindery, in New York City’s Chelsea district. The ceilings are high and the Manhattan skyline fills the windows with its urban textures: brick, stone, glass. Here, Sugimoto is surrounded by his art. There's a large black-and-white photograph of Henry VIII on the wall behind his desk, an image Sugimoto captured from a wax figure modeled after a Holbein portrait. In the corner stands a tall clock he assembled himself. Recently developed photographs, carefully pinned up, are drying on a wall. The spacious loft also has a library with critiques of Sugimoto’s own artworks and other books he's collected. When he closes the door and turns off the light, multiple copies of his recent book on movie theater interiors begin to glow in the dark— courtesy of a clever publish- er in London. And the darkroom features a Sugimoto-designed ventilating system whose silver piping is “ functional as well as beautiful. Artist, collector, dealer: add inventor” to the list. Born in Japan in 1948, Sugimoto studied in California in the early 1970s. Then he moved to New York with a Nikon 35 mm camera in hand and started photographing the city’s institutions, including the American Museum of Natural History. When he discovered the museum’s dioramas of prehistoric human life, he went back with a newly acquired large-format camera and began to shoot. “I thought this is something weird and interesting,” he says, and he used his 8 x 10 camera to explore how dioramas would look in a different con- text. More recently, Sugimoto has turned his attention to seascapes and other subjects, including a new series featuring Richard Serra’s monumental metal sculpture Joe. The artist has always used a traditional camera and black-and-white film, but his method of photography may be coming to an end. The world has moved on to digital photography, and the tools for making beauti- ful silver-toned black-and-white images are disappearing. “I’m standing at the last moment in the history of photography,” Sugimoto says. “I’m about to be forced out from this tradition.” But until that day comes, he’ll continue to rely on a professional photo studio that makes his prints on fiber-based paper using a nine- teenth-century technique. To get to the studio, Sugimoto often takes his bicycle and rides a path that is flanked by the West Side Highway on one side and the shimmering Hudson River on the other, the artist cycling past the timeless water that he has spent half a lifetime capturing. EXHIBITIONS 27 ASIATICA FS|G 2006 THE BIBLES Iooo “I NOW FEEL THAT THESE THINGS ARE THE GREATEST ART IN THE WORLD, GREATER THAN GREEK, CHINESE, OR JAPANESE.” -CHARLES LANG FREER IN A LETTER TO A CLOSE FRIEND IN 1907 EXHIBITIONS 28 ASIATICA FS|G 2006 hr 1.;: . jE f|| fj 1; Will [ P * 'i;V H in « -It • r 1 'ph at ,.' •-f I Wil W ' 5 1 G , His acquisitions — which include a large portion of the Coptic Psalter; FREER IN EGYPT part of a homily written by Theo- Charles Lang Freer made three trips philus, archbishop of Alexandria; and to Egypt between 1906 and 1909 and fragments of the books of Matthew became increasingly fascinated by the and Job — made front-page news in art he discovered and acquired there. the major newspapers of the day. Dec- The objects included vessels, amulets, ades later, the 1985 edition of Who Was and rare biblical manuscripts, some Who in Egyptology praised Freer as a of which were purchased from an collector “known for his remarkable Egyptian dealer named Ali Arabi in Coptic manuscripts.” 1906. Though by that time Freer had ' become fascinated by Egypt, it hadn’t always been love at first sight. In 1904, ART AND DISCOVERY he’d turned down the chance to pur- Other scholars and collectors in the chase similar items from the celebrat- Western world had turned their atten- ed dealer Siegfried Bing, saying “the tion to the Middle East decades earlier, art of China, Japan, and central Asia spurred in particular by two unrelated appeals to me more deeply.” events. In 1859 Charles Darwin pub- But only two years later Freer’s lished his Origin of the Species, which interest in Egyptian antiquities had established the new theory of evolu- grown. He felt it was necessary tion and all but toppled pre-existing to visit Egypt to seek out “rarities” ideas about the birth of Man. Then for his collection. His travels to the Suez Canal opened in 1863, making Egypt — especially the cities of Cairo the land of the Bible accessible to trav- and Alexandria — convinced him elers and explorers alike. Explorers that his growing collection of art and laymen flocked to Egypt to prove and antiquities would be incomplete that the Good Book was indeed true. without these Egyptian discoveries The interest of the British govern- ment was piqued as well, and Great Britain occupied the country in 1882. S ea iid;-s; Hp r,F,u ,ft OPHeziBCl i mmcb, ng, n rnu r { R y y/u/ii ,-£> Wi in ton at aw u. iw Soon museums London, Oxford, Oy4^y£t s/aie /Tul Paris, and Berlin were sending teams c*. PI & tx ^ ^ / //// of excavators to Egypt, where they made a number of exciting discover- '^rvj jt&iF/i&j *2 Y' An ^ ies — most notably in the outskirts of /• * 1 < *t3 )J> •fS1.0 . £ < wv •jfu££ trading known as Oxyrhyn- ^7iT\ CZjrrt^rrtZ*' a town • • bo VtUsAUc/^- f J chus (“city of the sharp-nosed fish”). 4? yi-A irZ, (WOT#) Oxyrhynchus was known for its gar- u>Scr*i 7?u . A« f Hfi \ tr 1 (.^tools' a a X-i'T^r •y^La.y^ fayncf&A ^ _ fe had been covered with sand. When ’>?!*» y^zovhy . a ^ >Tt— tv.o.ki Ajuy7&~sy Tl^/Uvt P 'A.’PliVt 1.V1AI well-preserved papyrus and parch- ment documents and pamphlets. The ''O Top: At the Cairo studio of that range in date from the end of the researchers were able to collect as ovV hj r-a.j 1 A. •- thirty-six basketfuls of man- : well-known photographer Old Kingdom to the fifth and sixth many as P. Dittrich in 1907, Freer centuries. He returned with ancient uscript fragments in one day. T'-pY’ 'n"n f (second from left), with Dr. glass vessels, statues of falcons to The papyrus fragments found at Frederick Wharton Mann, watch over his collection, and several Oxyrhynchus and those found around Ibrahim Ali, and dealer Ali early biblical manuscripts of unpar- the same time at the Cairo genizah — Arabi, from whom Freer pur- ,V' alleled worth — those of Deuteron- (a Hebrew word meaning “storage chased his most important the Psalms, the Four place” for worn or damaged sacred biblical and Genizah materi- omy and Joshua, texts) shone a light on everyday life als. Above: correspondence Gospels, and the Epistles of Paul. — •“P M \7 between Ali Arabi and Freer, Despite knowing little of their signifi- in ancient Egypt. Inside the once-lost cance or value, Freer was intrigued world of the genizah were private let- enough to venture outside his usual ters, tax returns, even shopping lists collecting interests. told the story of a vanished world. In subsequent years he obtained Found at the same time was the ear- additional manuscripts from Egypt, liest fragment of Saint Matthew’s some in fragmentary condition, writ- Gospel known to this day, dating from ten in Greek and Coptic (an Egyptian circa 200 C.E. and now housed at language from the third century C.E.). Oxford’s Magdalen College. EXHIBITIONS 30 ASIATICA FSIG 2006 THE SAYINGS OF JESUS (LOGIA JESOU): JESUS SAYS, “RAISE THE STONE AND THERE YOU FIND ME, SHALL SPLIT THE WOOD AND THERE I AM.” BODLEIAN LIBRARY, OXFORD UNIVERSITY. 1 - c1 m 1 1 1 icoyc MG- ' tuoi i<"r.u’xmi>A. ) » * • i a. KMIHCII KO Vt’At Ay iVyi < a I r r i i tru wtil I - i< 1 - n n i Mt » ah ai e e> K AMuiyci fcs aiSL - IN THE CENTURIES THAT FOLLOWED. THE FREER'S MANUSCRIPT OF DEUTERONOMY AND JOSHUA WAS WRITTEN BY ONE SCRIBE IN THE FOURTH OR FITH CENTURY AND “CORRECTED BY OTHERS BSBSO! sisssss. ffl'SSi® ''SSffiSRVgfi- SMS® ml w .0^3 rj r, v 4 p *s *y^ - %? £>1? JJiyO i i$5|fm, mi'si&l Si Iw .»®s® I Is 1 : M HP— •» ;- te^fTV;.-- i , ;. \ \ -t Tl FREERAND THE IN THE BEGINNING GENIZAH Freer didn’t just collect biblical manu- Freer purchased more than fifty frag- scripts, he used his substantial financial ments from the Cairo Genizah from the resources to have them translated by Egyptian dealer Ali Arabi, whom he’d Francis W. Kelsey, professor of Latin met on a previous visit to Egypt. The literature at the University of letters and other documents had been Michigan. The translations were then written in medieval times by members published and distributed, much to of Cairo’s once bustling Jewish com- Freer’s delight. Though William H. munity, centered around the synagogue Worrell, a young specialist in Semitic of Fustat. The Genizah documents languages at the university, was tasked must have been of great interest to Freer with publishing the Coptic manu- because their broad range of subject scripts, Kelsey consulted Freer on all matter was not necessarily limited to aspects of production, including biblical texts and because these ancient details of design. When Kelsey sent papers had been preserved in a reposi- him a sample of the Coptic font tory. Freer himself was a meticulous Worrell was using, for example, Freer keeper of his own papers, records, and replied that it seemed to him “very art- correspondence, now housed in the istic,” having the quality of notan, a archives of the Freer and Sackler galleries. Japanese term for both light and dark. The Genizah had been discovered in “I am sure the forthcoming publica- the late nineteenth century by twin sisters tion will be admired by all who have a from Scotland, who set out for the Floly Fand, reflecting the spirit of adventure that was in the air. They later made their discovery known to scholars back at Cambridge University, most famously Solomon Schechter, a red-haired Rumanian rabbi who taught at the university. Schechter and his fellow scholars, both at Supply Lost Parts, Cambridge and elsewhere, understood DISCOVERIES OF SAVANTS immediately that the Genizah items Parchments Dug Up in Egypt Better Preserved Than could rewrite the history of Jewish life in E Alexandria Velfums, the eastern Mediterranean between the chance to study it, especially those ETROIT, Jan. i.~~Locked UP In a vault In thin city end care- D fully tempered atmos- by on tenth and thirteenth centuries. Some who have the power to see beauty,” phere artificially charged to represent tbo warm and dry cltmato of tbo scholars considered the documents as Freer said. NEW VERSE OF BIBLE crucial for biblical studies, rabbinic learn- That beauty is represented by such ic mining Top and above left: Wendell ing, poetry, and liturgy; others were manuscripts as the third-oldest biblical Philips, explorer, founder of the American attracted by novel information about lan- parchment in the world — the Four Foundation Archeologists at the U. of C, guages for the Study of Man, and spoken and written, religious Gospels, dating from the fourth or Are Told of Discovery of jazz lover, introduces Ameri- beliefs and practices, and the daily lives fifth century, and later enclosed in Sayings of Christ can music to the monks of led by Muslims, Christians, and Jews exquisite painted wooden covers Saint Catherine's Monastery PART OF ST. MARK’S GOSPEL. around the time of the Crusades. depicting Matthew, Mark, Luke, and in Sinai in the early 1950s, Sisters Margaret Gibson and Agnes John. Above and left: When Freer Scientist Tells Where It Should Be , Lewis were twins at birth and twins in At a November 1912 exhibition in Inserted and Explains Why It purchased his biblical man- Was Omitted from Book, their love of manuscripts and explo- Freer’s house, the room’s shelves uscripts during his trips to ration. The two wealthy Scottish Pres- housed Persian, Chinese, Korean, Egypt, the acquisitions were reported in many newspa- byterian widows had made a number of Japanese, and Egyptian ceramics; a pers back home in America. visits to the Near East for the purpose of separate glass case contained the man- purchasing valuable manuscripts. In the uscripts of Deuteronomy and Joshua spring of 1896, ten years before Freer and the Gospels. “Since the opening of .V saying of Christ, lost to the world for thirteen centuries am! found In Egypt, turned his attention toward Egypt, they the Freer Gallery s given to the world for the first time of Art in 1923, to-day by Prof. Henry A. Sanders of tbo University of Michigan, addressing tho their membors of tho Archaeological InsUtuto, made • Genizah discovery— some [Freer’s] manuscripts have seldom In session at (he University of Chi- cago. Tho fragment Is part of an old blbie dating back to before the Moslem con- leaves from the Hebrew text of Eccles- been exhibited quest of Egypt in the seventh contury and. and several have never to authentic, ti to disarm hoB- iasticus that had for centuries only been been displayed,” notes Ann C. Gunter, known in Greek and Latin translations. the museum’s curator of ancient Near Though Gibson and Lewis never cros- Eastern art and head of scholarly pub- sed paths with Freer, the three shared lications and programs. “Were the cur- considerable common ground: a pas- rent exhibition to consist solely of the sion for travel and a sense of excitement Freer’s own biblical manuscripts, it about the past. would still be a landmark event.” EXHIBITIONS 35 ASIATICA FS|G 2006 1 j 8 JI1 S ® ¥ W *> W w MX! V V. X w Jflsfl? V » ^ W. f X X X ,? -f Q$ 3 1 5 1 © tf i# f i f f § $ § © © t $ ® ft f.© §tft§©1f#i©f S@©0 © f ©£ f‘l E f f f, 0#© f f.©$f ©#©ftf f ©f ##® S ©<|©i ©f #? I ifintt !if ©f® fjf f @ © f © ©f f ©ns f § S ©#> E § @ ,$& t § i IM I ft©©©©©© HJt t e s f. f © f $©© E§t § t ©§ t a § § ® t § § $2 § ©t 1 ©cm 1 § l.f f f f f f f i © @® f © § S © EXHIBITIONS 36 ASIATICA FS|G 2006 At j t, » / iss ; 'Igw i iit KOREA PREVIOUS PAGE (LEFT) FOR WHO AM WE? (2000) DO-HO SUH CREAT- ED A PATTERNED WALLPAPER BY REPRODUCING THOUSANDS OF FACES FROM HIGH SCHOOL YEAR- BOOKS HE’S COLLECTED OVER THE YEARS. SUH'S UNI-FACE GIRL (1997) IS A COMPUTER GENERATED IMAGE OF ALL OF THE ARTIST’S FEMALE CLASSMATES COMBINED --Ml TO CREATE A SINGLE LIKENESS. CHINA THE QIANGLONG EMPEROR AS MANJUSHRI. THE BODHISATTVA OF WISDOM. IMPERIAL WORK- SHOP WITH FACE BY GIUSEPPE CASTIGLIONE (CHINA. MID-18TH CENTURY). THE MULTICULTURAL NATURE OF THE PORTRAIT MIR- RORS THE COSMOPOLITAN COURT AND REIGN OF THE QIANGLONG EMPEROR. JAPAN LATE NINETEENTH-CENTURY PHOTOGRAPH OF CHILD ACROBATS IN JAPAN, ALBUMEN PRINT WITH HAND COLORING. PHOTOGRAPHS LIKE THIS ONE WERE CREATED MAINLY FOR SALE TO FOREIGN VISITORS TO JAPAN. INDIA PORTRAITS + WOMAN OF THE COURT WITH A PAINTING OF JAHANGIR, INDIA, DYNASTY, MEMORY MUGHAL 1603. OPAQUE WATERCOLOR ON PAPER. INDIAN Portraits have the power POETS OFTEN WROTE ABOUT LOVELORN WOMEN WHO PAINTED to evoke a person’s pres- THEIR BELOVED'S PORTRAIT TO EXPRESS THEIR LONGING. ence in the viewer’s mind. They draw close those who are distant, bring the past into the present, and even bestow life upon the departed. They are thus intimately associated with memory. A portrait con- nected with death and bur- ial can substitute in ritual for the person depicted, or it can offer the viewer imaginary but emotionally powerful and seemingly magical access to the de- parted. Indeed, the earliest portraits were probably those relating to death rit- uals, which were thought to forge a bond across time and space and between the living and the dead. EXHIBITIONS 39 ASIATICA FS|G 2006 IDENTITY + LIKENESS How do we know when an image depicts a specific person? Likeness — the re- semblance of a portrait to its subject — differs across cultures and over time. Likeness is so powerful that portraits often give the impression of a direct encounter between artist and subject. Many por- traits, however, are based on memory or verbal de- scriptions. Yet even purely imaginary works can attain the authority of portraits drawn from life after they have been viewed or copied over the course of centuries. Portraits go beyond physical appearance. Some idealize features to suggest an unblemished character; others exaggerate physical details to identify the sub- ject clearly. Much of the meaning in Asian portraits is communicated indirect- ly — through posture, ges- ture, setting, and costume. Some of the symbols in these portraits, such as halos and crowns, have familiar meanings that we can interpret easily. Others, such as the link between the profile and worldly power employed in Mughal portraits and American coins call for spe- cific cultural knowledge. The choices artists make to achieve likeness usually reflect cultural values. EGYPT A STONE AND COPPER HEAD OF A PHAROAH. FROM EGYPT, OLD KINGDOM, (CA. 2500—2170 B.C.E). IN ANCIENT EGYPT, SUCH STATUES WERE PLACED IN TOMBS TO SERVE AS ETERNAL IMAGES OF THE DECEASED. CHINA SELF-PORTRAIT PRESENTED TO WANG CHI-YUAN BY CHANG DAI- INDIA CHIEN (ZHANG SAGIAN, 1899-1983; PRINCE KHURRAM, THE FUTURE CHINA, 1965: HANGING SCROLL, EMPEROR SHAH JAHAN (INDIA, INK ON PAPER. THE LAST LINES CA. 1615; INK ON PAPER). IN THE OF THE INSCRIPTION READ, TVE 17TH CENTURY, THE NOBILITY OF DRAWN MY DUSTY VISAGE TO THE VAST MUGHAL EMPIRE WAS HANG ON YOUR STUDY WALL/ REPRESENTED ONLY IN IMPASSIVE THAT WE WHITEBEARDS MAY SEE PROFILE VIEW. EACH AND TAKE CHEER.” 4 TURKEY PORTRAIT OF A PAINTER, ASCRIBED TO BIHZAD, TURKEY, OTTOMAN DYNASTY, LATE 15TH CENTURY. OPAQUE WATERCOLOR AND GOLD ON PAPER. THE SIT- TER’S IDENTITY IS UNKNOWN, BUT HIS SUBTLY MODELED FACIAL FEATURES AND ELEGANT ATTIRE SUGGEST THAT HE MAY HAVE BEEN A MEMBER OF THE ROYAL PAINTING STUDIO. EXHIBITIONS 41 ASIATICA FS|G 2006 JAPAN SELF-PORTRAIT BY KOHNO MICHISEI (1895-1950), JAPAN 1917. THE TWENTY-TWO YEAR OLD ARTIST CHOSE TO PORTRAY HIM- SELF IN THE STYLE OF ALBRECHT DURER’S FAMOUS SELF-PORTRAIT. EXHIBITIONS 42 AS I AT 1C A FS|G 2006 INDIA SIX RECRUITS FROM THE FRASER ALBUM, ATTRIBUTED TO GHULAM ALI KHAN (INDIA, STATE OF HAR- YANA, 18x5-16, WATERCOLOR ON PAPER). FROM SWAGGERING CONFIDENCE TO FRAGILE APPRE- HENSION. THESE SUPERBLY REAL- IZED PORTRAITS DEPICT THE PROJECTING DISTINCTIVE PERSONALITIES IN AN INDIAN REGIMENT. IDENTITY How would you fashion IRAN your portrait for posterity? VEILED WOMAN WITH PEARLS, Which aspect of your BY ANTOIN SEVRUGUIN (LATE complex self would you 1830s— 1933, IRAN, 1890-1900, MODERN PRINT FROM A GLASS represent? Would you NEGATIVE,). SEVRUGUIN WAS choose a medium that AN ARMENIAN WHO LIVED AND WORKED IN IRAN. MAKING HIM could disseminate your BOTH A DETACHED OBSERVER AND A SYMPATHETIC INSIDER. image widely or would you restrict the viewing of your portrait to friends and family? Before photo- graphy made portraiture broadly accessible and relatively spontaneous, artist, patron, and subjects made careful choices about the persona that a portrait would project. Many portraits incorpo- rate some degree of imag- inative role-playing. Rulers typically commissioned images that announced authority or contributed to the consolidation of power. Other classes of people sought to project social values that garnered respect. Portraits tells us as much about cultural preferences as they do about a single person’s life or appearance. - 1«^*' «- |< \ 1 1 1 ci i y CM yiOC eon r : M! ci* c‘* 13 I I 1*0 H K< I A C QJU I S I T I O N S < < < < < < < < < C < < < < < < < < < < < A < < < A s < < < < < < < ' < < < < < < s A < < <• < < < < < < < j s < < < < < S < < < < < A s J < A < s < < < A s < < - < c FOUNDATION SACKLER THE SPOUT. FROM DRAGON GIFT AND GENEROUS HANDLE A OF DRAGON PART ARE WITH 1987, EWER IN GALLERY DYNASTY SACKLER TANG PAGE: THE OF THIS DYNASTY. INAUGURATION HAN THE WESTERN SINCE THE LOAN FROM LONG-TERM TRIPOD A ON AS EWER, SHAPED AND LAMP LAMP BRONZE CHINESE PAGE: ANCIENT OPPOSITE AN A Passion for Collecting No other collectors acquired so widely and boldly in Southeast Asia as did the Hauges. Their latest gift enters the Sadder s collection. VICTOR AND TAKA HAUGE PHOTOGRAPHED IN MAY, 2006, AT THE SACKLER GALLERY IN WASHINGTON, D.C. ASIATICA FS G 2006 ACQUISITIONS 48 | — NO OTHER COLLECTORS ACQUIRED SO WIDELY AND BOLDLY IN SOUTHEAST ASIA ASDIDTHEHAUGES. THEY BROUGHT TOGETHER MANY KINDS OF WARES THAT HAD NOT YET BEEN IDENTI FIED BUT NEVERTHELESS APPEALED TO THEM, SUCH AS THESE CERAMICS FROM ANCIENT IRAN AND ANGKOREAN CAMBODIA, “IN THE BEGINNING I WAS TAKEN BY ART BOOKS,” ON THESE PAGES ARE building the collection. After leaving Japan, Bud Victor Hauge says as he reflects on the origins of his VESSELS THAT REPRESENT worked for the Agency for International Develop- THE VARIED AND YET HIGHLY love of art and collecting. “The art book dealers in ment, and he and Gratia were assigned to Iran and DISTINCTIVE FORMS OF Kanda became my tomodachi, my friends. My inter- lived in Tehran. They then moved to Bangkok and ANCIENT IRANIAN EARTH- est was in the early arts of Japan.” In an extraordinary finally to Saigon. In Thailand, Bud and Gratia found ENWARE AND ANGKOREAN collaboration that began in Japan in the 1940s, Victor many of their pots at ivats (Theravada Buddhist STONEWARE-ALL EXAMPLES rather at dealers’ and his older brother Osborne (Bud) and their wives, OF THE HAUGES' GENEROUS monasteries) than proper shops. Takako (Taka) and Gratia, joyfully devoted themselves GIFTS TO THE SACKLER. “They used to go to Ayutthaya to buy things,” says to learning about the arts of Asia, experiencing the Victor. “They liked daily-use things, and the dealers in varied cultures firsthand, and collecting objects Bangkok didn’t handle much of that.” most famously ceramics. Victor enjoyed exploring old kiln sites, especially In the course of more than fifty years, the four col- the famous Ban Kruat kilns in northeast Thailand, the lectors sometimes found themselves in different parts first identified center for the production of Khmer of the world, but they remained united by their love of ceramics. “I especially love Khmer ceramics,” Victor ceramics. All four engaged with equal enthusiasm in adds. “We gave our Khmer ceramic collection to the ACQUISITIONS 50 ASIATICA FS|G 2006 THE ANCIENT IRANIAN PIECES RANGE IN DATE FROM THE LATE BRONZE AGE (CA. 2400- 1400 B.C.E.) TO THE IRON AGE (CA. 1400-600 B.C.E. ). THE GLAZED KHMER STONEWARES Sackler Gallery in 1996, but I’ve kept one of the Khmer on display there for an unprecedented three years. THE HAUGES FORMED THE pots we bought in Thailand — it’s a favorite.” The exceptional breadth of the Hauge Collection MAJOR PART OF THEIR CER- The Hauges also donated their collections of ancient includes textured earthenware cooking pots, unglazed AMICS COLLECTIONS DURING THE 1960s AND EARLY 1970s. Near Eastern and Iranian ceramics to the museum, and stoneware jars from kilns along the coast of Vietnam, in 2000 these IT WAS THEIR OWN EXTENSIVE two groups— along with the Khmer cer- and jars and bottles from then-unknown kilns in Laos EXPERIENCE OF LIVING AND amics were the subject — of an exhibition and catalogue, and Burma. Following in that same pioneering spirit, WORKING IN ASIA THAT LED Asian Traditions in Clay. This year Victor and Taka com- the Arthur M. Sackler Gallery will undertake a new THE TWO COUPLES TO COL- pleted the gift, bestowing on the Sackler the couples’ form of publishing its collection — producing a web- LECT CERAMICS WITH A unmatched collection of ceramics from Thailand, Viet- based, rather than print, catalogue of the Hauge FOCUSED AND INFORMED nam, and Laos, together with Chinese bowls and jars ceramics from mainland Southeast Asia. As a fitting PASSION. found in Southeast Asia. This new gift of ceramics from continuation of the Hauges’ abiding delight in sharing mainland Southeast Asia — a gift of more than 550 their collection with visitors to their homes, the online widely diverse vessels — will become the core of Taking catalogue will permit people worldwide to view their Shape, an exhibition that will open in the Freer and ceramics and experience the passion that guided the Sackler’s connecting gallery in spring 2007 and remain collectors for so long. ACQUISITIONS 51 ASIATICA FS|G 2006 F o c u s Out of the Galleries + Beyond the Walls Simryn Gill: Creating Art By the Book She likens the process of creating her beads to knitting, and she often works in the evening at her kitchen table, a habit formed when her children were young. But on this morning, artist Simryn Gill is far from home, sitting meditatively at a table in the Freer Gallery of Art with the tools of her trade at the ready: a ruler, wheat paste, and a thin wooden dowel. The silence is punctuated only by the soft sound of ripping paper. A prosaic sound were it not for the particular object being rent asunder—a book. More precisely, the first page of Mahatma Gandhi’s memoir, An Autobiography: The Story of My Experiments with Truth. Soon the page has all but disap- peared into strips of scrap paper. Gill has ripped the page vertically so that not even grammatically coherent phrases remain. "Gandhi needs to be torn against the grain of the text,” she explains, prompting thoughts of his against- the-grain struggles with such forces as imperialism and modernity. Within mere hours, the story of Gandhi’s “experiments with truth” will be recast as a string of beads— Gill's art of the unexpected. Whether working with wheat paste and paper strips, film and light, or found objects, Gill’s startling breaches of boundaries are integral to her aesthetic. The artist— born in Singapore and a longtime resident of Australia— once arranged dried chili peppers and silver cutlery into a vast spiral installed on a floor. That seminal work, Forking Tongues (1992), is currently on exhibit at the Sackler—along with selections from her photographic series Forest and her book-to-bead necklaces. For her series Da/am (2001), Gill spent eight weeks traveling the Malaysian Peninsula, boldly knocking on strangers’ front doors and wooing permission to photograph their 52 ASIATICA FS G 2006 FOCUS | living rooms, thereby playfully sub- verting notions of private and public, as well as anonymity and intimacy. For another installation, she attached tiny toy wheels to roadside detritus— broken plastic forks, crushed cans, and straws— and dubbed it Roadkill (2000). Gill delights in such surprising con- texts. "If you take things out of where they’re from, they seem to lose func- tional content, but they take on other content,” she says. "That shift interests me. The more you attempt coherence, the further away coherence gets,” So, as she quietly wraps paste- coated remnants of Gandhi’s memoir around a wooden skewer, both beauty and incoherence seem equally immi- nent. Each bead is simple, perfect, like a grain of rice— but also slightly volatile, like a poetically charged message yet to be decoded. She lets the book dic- tate form, determining the width of each bead based on the text’s font size, sel- ecting the number of strands according to the nature of the man. “Gandhi needs to be modest and delicate” she notes, settling on a single strand of beads. Gill began creating these Pearls— her name for the project that converts books into necklaces— a few years ago, but she has long been interested in the tension between the book as an object and the book as a bearer of content. For Pooja/Loot (1992) she turned old books into shrines and niches, carving out the tomes' interiors and stationing seemingly inconsequential objects in the newly created spaces. For Pearls, each necklace originates as a carefully chosen gift bestowed upon Gill by someone who knows their text will be returned as a work of art. The volumes she has transformed span the cultural extremes—from Sylvia Plath’s The Bell Jar to Mao’s Essay on Contradiction to a Sotheby's catalogue of nineteenth century Indian photogra- phy, “Some of the books are very pre- cious to the people who give them to me,” the artist says. “Gandhi is precious SIMRYN GILL WORKS ON PEARLS RAPHY. AT RIGHT IS FORKING TON- to the person who gave it to me.” In DURING A VISIT TO THE FREER GUES, WHICH WILL ALSO BE ON GALLERY THIS PAST SPRING. DISPLAY WHEN GILL'S WORK IS this process, Gill becomes a collector EACH NECKLACE IS CONSTRUCTED FEATURED AS PART OF THE PER- neither FROM A FAVORITE BOOK GIVEN SPECTIVES SERIES OF CONTEM- of books nor beads, but, rather, TO GILL, WHO TRANSFORMS THE PORARY ART. THE INSTALLATION. of personal connections. “The work TEXT INTO A NECKLACE OF CARE- CREATED IN AUSTRALIA IN 1992, FULLY CONSTRUCTED BEADS. IS MADE OF DRIED RED CHILIES goes back into the world and the layers AT THE SACKLER, SHE BEGAN INSERTED BETWEEN ASSORTED and connections grow. It’s a fair and TO CREATE A NECKLACE USING SILVER CUTLERY IN A SPIRAL GANDHI'S SEMINAL AUTOBIOG- FORMATION ON THE FLOOR. powerful exchange.” FOCUS 53 ASIATICA FS|G 2006 Focus Before and After: Conservation in Cambodia Surrounded by green foliage, its terra- cotta fagade taking on a pinkish hue in the sunlight, the National Museum of Cambodia presents a serene setting that belies the turmoil of its past. Built in Phnom Penh in 1917-20 by renowned French architect George Groslier, it has survived civil war, neglect, and most dev- astating, the massacre of its staff during the brutal rule of the Khmer Rouge. By the early 1990s objects lay on the floor covered in dirt, floods had damaged the building and collection records, and thou- sands of bats were living in the rafters, their smell permeating the museum. But that was then. Today the muse- um's prospects are on the rise; it is one of the few places where residents and visitors can learn about Cambodia's his- THE BRONZE CONSERVA- tory, particularly Angkor, TION STUDIO IN CAMBODIA the breathtakingly beauti- WAS GIVEN A JUMP START BY MEMBERS OF THE FREER ful capital of the ancient AND SACKLER'S CONSER- Khmer empire. Four gal- VATION STAFF, WHO TRAV- PHNOM PENH TO ELED TO leries display ceramic HELP FOUND THE STUDIO. FROM THE TOP, IMAGES OF and glass objects, textiles, BEFORE, AFTER, AND A and sculpture dating from VIEW OF THE NATIONAL MUSEUM OF CAMBODIA. the sixth to the thirteenth century. And though the enterprising staff once turned the roof-based tenants into a tourist attraction, today the bats are gone; they were evicted years ago. With much more work remaining ahead for the national museum, the Freer and Sackler galleries offered assistance in late 2004. Aided by grants from the Getty Foundation, Global Heritage Fund, and the Fulbright Foundation, the gal- leries helped transform a museum store- room into a conservation lab for bronze statues and sent their conservators to Phnom Penh. The project also has trained four staff members in the care and con- servation of the collection, whose largest bronze— a fragmentary figure of a reclin- ing Vishnu from a site near Angkor—was misidentified as a Buddha by thirteenth- century Chinese envoy Zhou Daguan: "In the midst of the tower is a bronze reclin- ing Buddha and water frequently flows from its navel.” FOCUS 54 ASIATICA FS|G 2006 Style and Status: Gallery to Gala From fashionable days to haute nights, the sold-out Gala in October 2005 in honor of the exhibition, Style and Status: Imperial Costumes from Ottoman Tur- key, was a feast for the palate as well as the eyes. These rare and beautiful textiles spoke to the contemporary aud- ience with the same exuberance and panache they expressed hundreds of years ago when they were created for ' / i >,-~ the opulent court of the sultans. The Sackler presented four contemporary Turkish designers with awards that rec- ognized their contributions to fashion. The effervescent evening, and our most successful gala to date, was made all the more spectacular with the presence of models donning the latest fashions. "HIS SINGLE MOST ENTICING PRINT IS OF A RED CRES- CENT AGAINST AN IVORY fashion world. Even as a child, there Dries Van BACKDROP. IT RECALLS THE SIGNATURE PRINTS SEEN IN was never any doubt that he would THE COLLECTION OF OTTO- Noten: Gallery MAN TEXTILES THAT WERE pursue a career in design. Last year, he ON DISPLAY AT THE ARTHUR brought a fresh look to the oversized to Catwalk M. SACKLER GALLERY EAR- LIER THIS YEAR. EAST patterns of tulips, tiger stripes, and MERGES WITH WEST WHEN crescents that had filled the HE PAIRS THE CRESCENT Sackler PRINTS WITH MENSWEAR Gallery for Style and Status: Imperial JACKETS OR USES THEM Clothes may make the man but Dries ON A GOWN CUT WITH Costumes from Ottoman Turkey. Those Van Noten makes the clothes. The A DARINGLY BARE BACK." same motifs were found on the Paris Belgium-based designer has long been -ROBIN GIVHAN, FASHION runways for Van Noten’s fall 2006 col- EDITOR, WASHINGTON POST known for his innovative use of textiles. lection. Centuries may have passed Born in Antwerp in 1958, into a three- since the Ottoman robes were fash- generations-old family of tailors, Van ioned by hand, but it goes to show that Noten’s earliest memories are of the beautiful design is never out of style. FOCUS 55 ASIATICA FS|G 2006 Endnote From the Archives NEW YORK A TALE OF TWO BUILDINGS Charles Lang Freer sketched his idea for the Freer Gallery on April 23, 1913, while meet- ing with architect Charles Platt at the Plaza Hotel in New York. Freer wanted a two- story building with exhibition galleries on the main floor, and study and storage rooms below. The neighboring Arthur M. Sackler Gallery opened its underground galleries to the public in 1987. Architect Jean Paul Carlhian designed the Sackler pavilion with six cop- per pyramids to echo the arti- culated roofline of the nearby Smithsonian Castle and Arts and Industries buildings. ENDNOTE 56 ASIATIC A FS]G 2006 Mission Statement Inform and Inspire The Freer Gallery of Art and the Arthur M. Sackler Gallery jointly form the national museum of Asian art. The mission of the national museum is to impart understanding of, and inspire appreciation of, the arts and cultures of Asia both nationally and internationally. Freer Gallery of Art Arthur M. Sackler Gallery Annual Record 2005 Fiscal Year 2005 October 2004-September 2005 © 2006 Freer Gallery of Art & Arthur M. Sackler Gallery Smithsonian Institution Washington, D.C. Produced by the Office of Membership and Development Freer Gallery of Art & Arthur M. Sackler' Gallery Smithsonian Institution Edited by Victoria Dawson Designed by Adina Brosnan-McGee Contents 2 Introduction Director's Report Chair's Report 3 Acquisitions, Contributions, and Financials Acquisitions and Loans Gifts, Grants, and Contributions Budget Summary Annual Benefit Gala 10 Programs Exhibitions Education, Public Programs, and Resources Gallery Shop Programs Lectures and Research Programs 18 Services Publications Library Services Archives 20 Board, Staff, Interns, Volunteers, and Docents INTRODUCTION Director's Report Chair's Report curtain As the rose on the 2005 fiscal Friends of the Freer & Sackler Galleries. The Freer and Sackler Galleries offer In addition to approving new acquisitions, year, the stage was set for a new kind of A gala featuring a dozen performers from exceptional experiences to all who avail the board supports Dr. Raby and the profes- synergy— in the art museums of the Yemen—traditional singers and dancers themselves through personal visits, or sional staff on a host of issues through Smithsonian and within our own galleries. swinging jambiyahs, the distinctive curved increasingly, virtual visits on the web. This three meetings a year that each takes place This, I believe, was the beginning of a new knives carried by the men—made the open- is doubly true for those of us who have the over the course of two days. Our trustees way of working that will benefit our audi- ing unforgettable. privilege of knowing the institution in-depth are remarkably dedicated, and on behalf ences tremendously. In partnership with through serving on the board of trustees. of Mary Ebrahimi, our vice chair, and the Hirshhorn, we presented simultaneous Planning for exhibitions takes several years, second year as chair My was even more Paul Marks, our secretary, I thank our and considerable effort. In 2005, for example, installations by Chinese artist Cai Guo- stimulating and rewarding than the first. devoted trustees for their commitment to we were in negotiations with and Qiang. The Hirshhorn featured examples of museums board service. his famous gunpowder drawings created departments of culture in more than Providing the best educational experiences specifically for the museum. Ours was a dozen nations. Success often depends on possible for our audiences is a top priority. In this last fiscal year, we welcomed two an elegiac—and massively proportioned— the good offices of ambassadors to the The board and staff of the Freer and new trustees: Michael Feng and Martin shipwreck on a sea of broken white porce- United States, who rarely disappoint. In Sackler Galleries continuously work Glynn, both of New York. We regretted the lain in the Sackler pavilion. Visitors who this context, I must single out H. E. Faruk together to address how we deliver this end of the second term of H. Christopher then ventured downstairs to the main Logoglu of the Republic of Turkey and his important aspect of the mission of the Luce, who had served continuously since wife Mevhibe for their institution. all galleries could not miss the artist’s deliber- extraordinary partner- We are pleased with the 1997. My fellow officers and I were pleased ate nod to Iraq and China: Ceramics, Trade, ship during this year’s advance preparations new work the museum began this year in to be re-elected to leadership posts. and Innovation—an exhibition of more schol- for Style and Status: Imperial Costumes from consultation with Project Zero at Harvard On behalf of the board, I want to express arly bent on ninth-century ceramics inspired Ottoman Turkey, an exhibition of breathtaking University and grateful for the dedicated our gratitude to the docents and other by the vigorous medieval sea trade between kaftans largely from the Topkapi Palace leadership of our education department volunteers who extend the reach of the Asia and the Middle East. The ideas stem- Museum in Istanbul. Their enthusiasm and in embracing sound models of museum permanent staff. Their faithful service helps ming from that exhibition struck a cord: willingness to lend a hand never flagged, learning. We look for strides forward as and them a special thank you. education lead- to make the galleries a prime destination What a welcome surprise when it received we owe the department, under the for visitors of all ages. Similarly, the private the extensive level of press coverage usually ership of Claire Orologas, seeks to involve In closing, I would like to mention that this individuals, foundations, and corporations associated with a more predictable, high- perspectives from all parts of the museum year at the museum was unusually distin- that support our work through financial profile exhibition. in planning exhibition interpretation. guished by diplomatic events. The Freer was Meanwhile we celebrate a record year for contributions are heroes for whom we are The winter season offered our professional the setting for a grand celebration of the education at the museum. A total of fifty immensely grateful. educators and volunteer docents an irre- tenth anniversary of the normalization of thousand visitors attended programs con- Jeffrey P. Cunard, Chair sistible opportunity to capitalize on the relations between the United States and ceived and carried out by the education universal appeal of popular games. Asian Vietnam. A lively day of public demonstra- department in 2004-2005. Games was an unusual exhibition on'the tions and performances and a private event is for year-round long history of pastimes that originated in marked the occasion. Another evening, The museum renowned of India, Persia, China, and Japan, based vari- His Excellency President Hamid Karzai of performances music and dance and official screenings of classic films. The ously on logic, memory, and physical skills. Afghanistan visited the Freer for an new and of repatriation of stolen ancient year marked the tenth anniversary In one room of the installation, game tables ceremony 2005 of Film Festival, a delicious provided opportunities for young and old to coins that had been recovered by U.S. the Hong Kong test their skills—the perfect object lesson Customs. It was a moving moment, in which combination of treats, from comedy to kung part. fu. introduced Inspired by and just the ticket during inclement weather. we were glad to have played a small This year we also featuring musicians and On weekends the museum was the scene of This was followed soon after by a memo- India weekends in the gal- hotly contested tournaments. rable occasion, when President George W. dancers performing and around Bush addressed the nation from the Meyer leries of Indian art. Both this old and new With the arrival of summer, our attention Auditorium before attending the G8 Summit. program, like and all the others offered in shifted to Ancient Southern Arabia's series or individually, were part of our great others in the life of extended traditions of script and sculpture, These events, and success. the museum, underscore our belief in the A handsome exhibition in the Sackler, Caravan Kingdoms: Yemen and the Ancient importance of visual culture and the per- Dr. Raby has mentioned the special exhibi- Art is tions that distinguished the year. Another Incense Trade, covered more than fifteen forming arts in the world today. a through which we can experience important factor in our vitality is additions hundred years of history that is little known window values—our own and those of others. To our to the permanent collections. The list of in the West. The show would have been of art acquired this year is topped by impossible without the steadfast coopera- staff, who daily complements each other’s works in interpreting the art of the vast the incredible generosity of Guido Goldman, tion of the Republic of Yemen, officials of expertise world represented in our collec- who has given the museum one of the the General Organization of Antiquities parts of the collections of ikats I tip hat. world's most important and Museums, His Excellency Abdulwahab tions and special exhibitions, my To our many donors— individuals, founda- from Central Asia. These colorful textiles, al-Hajjiri, the Republic of Yemen’s ambassador tions, and corporations—and especially the which vibrate with intensity, are a welcome to the United States, Dr. Abd al-Karim of the Friends of the Freer permanent addition to the collections fol- al-lryani, senior advisor to the president of members & Sackler Galleries whose generosity enables lowing their previous showing here several the Republic of Yemen, the American to continue to accomplish our work, years ago in a popular traveling exhibition. Foundation for the Study of Man, especially us individual examples of these I appreciation. Handsome Merilyn Hodgson, president, as well as offer my deep ikats were showcased on a rotating basis supporters including Mrs. Cynthia Helms, Julian Raby, Director in the Sackler. Hunt Oil Company, Occidental Petroleum Corporation, Mr. Hossein Afshar, the Universal Companies (Yemen), and the ANNUAL RECORD 2 FS | G 2005 ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS Acquisitions and Loans GIFT OF DAVID BINKLEY AND PATRICIA DAVISH IN Freer Gallery of Art Cup with fluted walls. Si Satchanalai, Sukhothai Arthur M. Sackler Gallery MEMORY OF RAYMOND AND IRENE BINKLEY province, Thailand, I4th-mid-i6th century. GIFTS GIFTS Redolence. By Arakawa Shusaku (B. 1936). Stoneware with misfired celadon glaze; 4.4 x 4.7 GIFT OF SARAH M. BEKKER Japan, 1974. Color lithograph on paper with BEQUEST OF ANNE VAN BIEMA cm. FSC-P-6794 Kendi. Thailand, Ayutthaya period, I6th-I8th embossing; 75.3 x 106.0 cm. S2004.79' Ducks and Flowers. By To Kyujo (Japanese, century. Earthenware with white slip and 1744-1802). Japan, Edo period, 1786. Ink and Bottle. Phan, Chiang Rai province. Thailand, GIFT OF GUIDO GOLDMAN painted decoration; 16.0 x 17.5 x 14.0 cm. S2005.1 color on silk; 121.8 x 55,8 cm, F2005.1 15th century. Stoneware with celadon glaze; 4.4 Wall hanging. Uzbekistan, Samarkand or x 4.6 cm. FSC-P-6795 GIFT OF OSBORNE AND GRATIA HAUGE, AND Bukhara, 1850-75. Silk, cotton, and wool; Kendi. Thailand, Ayutthaya period, I6th-i8th VICTOR AND TAKAKO HAUGE 213.0 X 140.0 cm. S2004.65 century. Earthenware with black matte surface; (For the Freer Study Collection) Jar with two loop lugs. San Kampaeng, 22.0 x 23.0 x 17.0 Cm. S2005.2 Chiang Mai province, Thailand. Stoneware Wall hanging. Uzbekistan, probably Samarkand, Bowl. Si Satchanalai, Sukhothai province, with celadon glaze; 9.0 x 10.3 cm. fsc-p-6796 1850-75. Silk, cotton, and wool; 211.0 x 175.0 cm. Kendi. Thailand, Ayutthaya period, I6th-I8th Thailand, I4th-mid-i6th century. Stoneware with S2004.66 century. Earthenware with burnished surface misfired celadon glaze; 8.6 x 19.9 cm. fsc-p-6783 Firing support. Si Satchanalai, Sukhothai and incised decoration; 18.0 x 21.0 x 17.0 cm. province, Thailand, Ayutthaya period, I4th-i6th Wall hanging. Uzbekistan, Samarkand or x x 52005.3 Firing support. Wang Nua kiln site, Chiang Rai century. Earthenware;' 46.9 16.1 15.0 cm. Bukhara, mid-i9th century. Silk, cotton, and FSC-P-6797 I province, Thailand, I4th-mid-i6th century. wool; 210.0 x 168.0 cm. S2004.67 Kendi. Thailand, Ayutthaya period, I6th-I8th Stoneware; 22.9 x'15.0 cm. fsc-p-6784 century. Earthenware; 9.3 x 10.0 x 8.0 cm. Bottle. Northern Thailand, I6th-i7th century. Wall hanging. Uzbekistan, probably Samarkand, 52005.4 Firing support. Wang Nua kiln site, Chiang Rai Red earthenware with white and brown slip; 12.6 mid-i9th century. Silk, cotton, and wool; 229.0 x province, Thailand, I4th-mid-i6th century. x 117 cm. FSC-P-6798 102.0 cm. S2004.68 Liquor flask. Thailand or Laos, 16th— isth Stoneware; 19.0 x 17.8 cm. fsc-p-6785 century. Unglazed stoneware; 28.5 x 29.0 cm. Small dish, possibly oil lamp. Vietnam, Oc Eo Wall hanging. Uzbekistan. Bukhara, mid-i9th - 52005.5 Bottle. Ka.long, Chiang Rai province, Thailand, culture, 200 600 . Earthenware; 2.3 x 7.4 cm. century. Silk, cotton, and wool; 132.0 x 92.0 cm. I4th-mid-i6th century. Stoneware with white FSC-P-6799 S2004.69 Spirit house figure of a horse. Thailand, slip; 19.7 x 10.3 cm. FSOP-6786 Ayutthaya period, ieth— isth century. Wall hanging. Central Asia, 1850-75. Silk, cotton, Earthenware; 7.0 x 9.0 x 3.3 cm. S2005.6 Jar. Wang Nua kiln site, Chiang Rai province, and wool; 118.0 x 83.0 cm. S2004.70 Thailand, I4th-mid-i6th century. Gray PURCHASES Spirit house figure of a male servant. Thailand, stoneware with green glaze; 30.3 x 23.3 cm. Wall hanging. Central Asia, 1850-75. Silk, cotton, Ayutthaya period, 16th—18th century. FSC-P-6787 Inkstone box (suzuriba kb). Japan, Edo period, x and wool; 211.0 x 123.0 cm. S2004.71 17th century. Lacquer on wood with gold and Earthenware; 8.0 6.0 cm. S2005.8 silver; Bottle. Singburi province, Thailand, late metal water dropper (suiteki ); Wall hanging. Uzbekistan, probably Bukhara, X Spirit house figure of a boar. Thailand, 16th—18th century. Stoneware with brown glaze; 13.0 17.8 cm. F2005.2A-M 1850-75. Silk, cotton, and wool; 130.0 x 72.0 cm. Ayutthaya period, 16th—18th century. 13.1 X 9.5 cm. FSC-P-6788 x x S2004.72 The Birth of Muhammad from a replacement Earthenware; 5.0 6.0 3.2 cm. S2005.9 Bottle. Si Satchanalai, Sukhothai province, copy of the Jami al-Tavarikh. Herat, Wall hanging. Central Asia, mid-i9th century. Spirit house figure of a turtle. Thailand, Thailand, Ayutthaya period, I4th-mid-i6th cen- Afghanistan, 1426. Ink and color on paper; Silk, cotton, and wool; 209.0 x 131,0 cm. S2004.73 42.0 X 32.5 Ayutthaya period, ieth—isth century. tury. Stoneware with brown glaze; 5.3 x 5.2 cm. cm. F2005.5 Earthenware; 2.5 x 3.5 x 2.5 cm. S2005.10 FSC-P-6789 PURCHASE-FREER GALLERY OF ART AND Wall hanging. Central Asia, probably Khodjent, HAROLD P. STERN MEMORIAL FUNDS 1850-75. Silk, cotton, and wool; 206.0 x 156.0 cm. Spirit house figure of a bull. Thailand, Jar. San Kampaeng, Chiang Mai province, Priest Ikko in Final His Hours. Japan, 14th- Ayutthaya period, I6th-I8th century. S2004.74 Thailand, I4th-mid-i6th century. Stoneware century. Ink and colors with slight gold on silk; Earthenware; 9.0 x 11,0 x 4.0 cm-. S2005.il with ash and iron-brown glazes; 36.5 x 28.1 cm. 222.7 X 72.7 cm. F2005.3A-C Wall hanging. Central Asia, mid-i9th century FSC-P-6790 Silk, cotton, wool; x Spirit house figure of a seated boy. Thailand, and 123.0 114.0 cm. S2004.75 PURCHASE-FRIENDS OF THE FREER Ayutthaya period, I6th-i8th century. Jar. San Kampaeng, Chiang Mai province, AND SACKLER GALLERIES Earthenware; 6.3 x 5.0 x 3.7 cm. S2005.12 Thailand, I4th-mid-i6th century. Stoneware Mirror case. By Abid. India or Iran, early with brown glaze; 29.6 x 23.0 cm. fsc-p-6791 17th—18th century. Lacquer over wood frame and papier-mache or pasteboard, opaque Architectural fragment (kiln waster).' Phan, watercolor, gold and silver foil strips on paper; Chiang Rai province, Thailand, 15th 17.8 x 11.8 x 17 cm. F2005.4 century. Gray stoneware with white slip under pale green glaze; 39.8 x 22.0 cm. fsc-p-6792 Jar. San Kampaeng, Chiang Mai province, Thailand, I4th-mid-i6th century.. Stoneware with brown glaze; 22.1 x 18.3 cm; fsc-p-6793 ANNUAL RECORD 3 F-S G 2005 | ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS GIFT Wall hanging. Uzbekistan, Bukhara, mld-i9th Wall hanging. Uzbekistan, Bukhara, 1800-50. OF OSBORNE AND GRATIA HAUGE, AND Pig. China, Flan dynasty, 2nd century b.c.e -2 nd VICTOR AND TAKAKO HAUGE century. Silk, cotton, and wool; 175.0 x 159.0 cm. Silk, cotton, and wool; 169.0 x 86.0 cm. S2004.91 century C.E. Marble; 2.8 x 9.2 x 6.0 cm. S1987.741 Group of 559 ceramic vessels. Iraq, Cambodia, S2004.76 Thailand, Vietnam, Laos. Burma, and China, Wall hanging. Central Asia, 1850-75. Silk, cotton, Bear. China, Flan dynasty, 2nd century 3rd-20th century. Earthenware, stoneware, Wall hanging. Uzbekistan, Bukhara, 1850-75. and wool; 211.0 x 144.0 cm. S2004.92 B.c.E.-2nd century c.E. Jade; 2.8 x 3.3 x 1.6 cm. and porcelain, various sizes. S2004.63-.64; Silk, cotton, and wool; 152.0 x so.o cm. S2004.77 S1987.744 S2004.99-.235; S2005.22-.442 Wall hanging. Uzbekistan, Bukhara, 1875-1900. Loom length. Central Asia, 1850-75. Silk, cotton, Silk, cotton, and wool; 180.0 x 99.0 cm. S2004.93 Dog. China, period of Division, 3rd-6th century GIFT OF RICHARD PEELER and wool; 678.0 x 41.0 cm. S2004.78 or later. Jade; 2.8 x 9.2 x 6.0 cm. S1987.750 Tea bowl. By Takahashi Rakusai III (1898-1976). Woman's robe. Central Asia, 1850-75. Silk Japan, 1966. Shigaraki stoneware with accidental Section of loom length. Central Asia, 1850-1900. velvet; 125.0 x 163.8 cm. S2004.94 Bird. China, Liao-Yuan dynasty, 10th—14th wood-ash glaze: 7.0 x 13.3 cm. S2004.98 Silk, cotton, and wool; 198.0 x 28.0 cm. S2004.79 century. Jade; 4.3 x 2.9 x 0.9 cm. S1987.752 Woman's robe. Central Asia, 1850-75. Silk Wall hanging. Uzbekistan, Samarkand or velvet; 122.0 x 165.0 cm. S2004.95 Toad on a lotus leaf. China, Ming-Qing dynasty, LOANS TO OTHER INSTITUTIONS Ferghana Valley, 1850-75. Silk, cotton, and wool; 16th— 17th century. Jade; 3.6 x 9.0 x 5.6 cm. 221.0 x 150.0 cm. S2004.80 Woman's robe. Central Asia, 1850-75. Silk NATIONAL MUSEUM OF WILDLIFE ART S1987.758 velvet; 132.0 x 160.0 cm. S2004.96 Jackson, Wyo. Wall hanging. Central Asia, 1825-75. Silk, cotton, NOVEMBER 20. 2004-JANUARY 30, 2005 Garment hook with monkey and horse. China, and wool; 203.0 x 171.0 cm. S2004.81 Woman's robe. Central Asia, late 19th century. Qing dynasty, I7th-i8th century. Jade; Silk, cotton, and wool; 135.0 x 165.0 cm. S2005.13 THE TRAMMEL AND MARGARET CROW 12.2 x 1.8 x 2.2 cm. S1987.762 COLLECTION OF ASIAN ART Wall hanging. Central Asia, 1875-1900. Silk, cotton, Dallas, Tex. and wool; 178.0 x 110.9 cm. S2004.82 Woman’s robe. Uzbekistan, Bukhara, 1820-40. Ring ornament. China, Yuan-Ming dynasty, FEBRUARY 19-MAY 1, 2005 Silk, cotton, and wool; 135.0 x 163.0 cm. S2005.14 I3th-i7th century. Jade; 11.2 x 11.4 x 1.1 cm. Wall hanging. Uzbekistan, Bukhara, 1800-50. S1987.767 THE LENTZ CENTER FOR ASIAN CULTURE Silk, cotton, and wool; 246.0 x 2110.0 cm. Woman's robe. Central Asia, 1850-1900. Silk, Lincoln, Neb. S2004.83 cotton, and wool; 137.0 X 185.0 cm. S2005.15 Bird and peach. China, Ming dynasty, I4th-I7th MAY 21-JULY 31. 2005 century. Jade; 8.0 x 4.6 x 4.9 cm. S1987.772 Wall hanging. Uzbekistan, Bukhara, 1875-1900. Woman's robe. Central Asia, 1850-1900. Silk, ELIZABETH MYERS MITCHELL ART GALLERY. Silk, cotton, and wool; 231.0 x 1150.0 cm. S2004.84 cotton, and wool; 122.0 x 150.0 cm. S2005.16 ST, JOHN'S COLLEGE Dragon brush washer. China, Qing dynasty, Annapolis, Md. 18th century. Jade; 3.0 x 9,8 x 7.1 cm. S1987.773 Wall hanging. Iran, 1850-1900. Silk, cotton, and Robe. Central Asia, 19th century. Silk, cotton, AUGUST 20-OCTOBER 30, 2005 wool; 180.0 X 109.0 cm. S2004.85 and wool; 129.5 x 161.0 cm. S2005.17 Coiled mythical animal. Flan dynasty-period Magic, Myths, and Minerals: Chinese Jades of division, 2 nd century b.c.e-589 c.e., or later. x x Wall hanging. Iran, 1850-1900. Silk, cotton, and Robe. Central Asia, 19th century. Silk, cotton, from the Arthur M. Sackler Gallery, organized Jade; 3.6 10.0 5.6 cm. S1987.785 wool; 168.0 x 109.0 cm. S2004.86 and wool, 132.0 x 147.0 cm. S2005.18 in cooperation with the Smithsonian Institution Traveling Exhibition Service Dove staff finial. China, Song dynasty 960-1279. x x Wall hanging. Central Asia, 1800-50. Silk, cot- Robe. Central Asia, 19th century. Silk, cotton, Jade; 5.1 8.0 4.2 cm. S1987.794 ton, and wool; 229.0 x 39.0 cm. S2004.87 and wool; 128.0 x 156.0 cm. S2005.19 Goose. China, Song dynasty (960-1279). Jade; 2.8 X 9.2 X 6.0 cm. S1987.28 Chimera. China, period of division, 4th-6th Wall hanging. Uzbekistan, possibly Samarkand, Robe. Central Asia, 19th century. Silk, cotton, century. Jade; 4,7 x 8.6 x 2.8 cm. S1987.798 1850-75. Silk, cotton, and wool; 204,0 x 140.0 cm. and wool; 119.5 x 154.0 cm. S2005.20 Rabbit. China, Shang-Western Zhou dynasty, period of division, 3rd-5th century S2004.88 ca. nth century b.c.e. Jade; 2.1 x 3.9 x 0.4 cm. Tiger. China, x x Robe. Central Asia, 19th century. Silk, cotton, S1987.587 or later. Jade; 3.0 7.4 4.7 cm. S1987.802 Part of loom length. Central Asia, 1850-75. Silk, and wool; 140.0 x 160.0 cm. S2005.21 China, I 2th-I8th century. Jade; cotton, and wool; 234.0 x 33.0 cm. S2004.89 Bird pendant. China, Shang dynasty, I3th-nth Bird pendant. century b.c.e. Jade; 5.6 x 3.6 x 0.5 cm. S1987.637 6,4 x 4.3 x 2.2 cm. S1987.807 Wall hanging. Central Asia, ca. 1900. Silk, cot- ton, and wool; 203.0 x 142.0 cm. S2004.90 Plorse. China, Song-Ming dynasty, ioth-i7th century. Jade; 3.3 x 6.0 x 3.3 cm. S1987.739 ANNUAL RECORD 4 FS|G 2005 . Rooster. China, Song dynasty, 10th—13th ASIA SOCIETY GALLERY Kanagawa. Noge, and Yokohama: Evening Complete Detailed View of Yokohama Honcho * x New York City century. Jade; 5.2 6.9 2.3 cm. S1987.808 Scene of Yokohama. By Utagawa Hiroshige II and the Miyozaki Quarter. By Hashimoto OCTOBER 2004-FEBRUARY 5, 2005 27 (1826-1869). Japan. Woodblock print; ink and Sadahide (1807-?). Japan. Woodblock print; ink Mandarin duck. China, Yuan-Qing dynasty, color on paper; 33.8 x 145.0 cm. Gift of and color on paper; 37.5 x 76.8 cm. Gift of ARTHUR M. SACKLER GALLERY, 14th—17th century. Jade; 3.1 x 6.0 x 2.7 cm. Ambassador and Mrs. William Leonhart, Ambassador and Mrs. William Leonhart, SMITHSONIAN INSTITUTION S1987.810 S1998.26A-F S1998.48A-C Washington, D.C. MARCH 5-MAY 30, 2005 Pigeon. China, Song dynasty, 960-1279. Jade; Picture of a Foreign Building in Yokohama. Picture of the Newly Opened Port of 'Yokohama 4.7 x 8.5 x 3.1 cm. S1987.811 MIDDLEBURY COLLEGE MUSEUM OF ART By Utagawa Hiroshige II (1826-1869). Japan. in Kanagawa. By Hashimoto Sadahide (1807-?). x Middlebury, Vt. Woodblock print; ink and color on paper; 35.0 Japan. Woodblock print; ink and color on Elephant. China, Song dynasty, 12 th— 13th 73.0 cm. Gift of Ambassador and Mrs. William paper; 36.5 x 72.4 Gift of SEPTEMBER 8-DECEMBER 11. 2005 cm. Ambassador and century. Jade; 4.1 x 9.3 x 4.4 cm. S1987.813 Leonhart, S1998.27A-C Mrs. William Leonhart, S1998.52A-C ASIAN GAMES: THE ART OF CONTEST Ram. China, Qing dynasty, 19th century. Jade; Bowl. Iran, Sasanian period, 7th—8th century. Picture of the Trial Balloon Launch at the Naval Picture of Western Traders at Yokohama 73.9 X X 5.7 8.7 3.9 cm. S1987.815 Silver with gilding; 5.7 x 14.3 cm. Gift of Arthur Academy Training Ground at Tskuiji. By Transporting Merchandise. By Hashimoto M. Sackler, S1987.105 Utagawa Hiroshige III (1843-1894). Japan. Sadahide (1807-?). Japan. Woodblock print; ink China, Horse. Tang-Song dynasty, 8th—13th Woodblock print; ink and color on paper; and color on paper; 36.0 x 122.5 cm. Gift of JAPANESE AMERICAN NATIONAL century. Jade; 3.4 x 7.3 x 4,4 cm. S1987.817 MUSEUM 33.8 x 74.0 cm. Gift of Ambassador and Ambassador and Mrs. William Leonhart, Los Angeles, CA Mrs. William Leonhart, S1998.31A-C S1998.55A-E Dragon finial. China, Yuan dynasty, I3th-I4th FEBRUARY 6-MAY 1, 2005 century. Jade; 6.9 x 5.1 x 24.3 S1987.819 Japan After Perry: Views of Yokohama cm. Famous Views of Tokyo: Picture of Brick and Picture of People of the Five Nations Walking in and Meiji Japan Stone Shops on Ginza Avenue. By Utagawa a Line. By Hashimoto Sadahide (1807-?). Japan. Horse. China, Song dynasty (960-1279) or later. Hiroshige III (1843-1894). Japan. Woodblock Woodblock print; ink and color on paper; 36.3 x Jade; 3.9 x x Complete Enumeration of Scenic Places in 9.6 4.0 cm. S1987.820 print; ink and color on paper; 37.5 x 73.0 cm. Gift cm. Gift of Ambassador and Mrs. William Foreign Nations: City of Washington in of Ambassador and Mrs. William Leonhart, Leonhart, S1998.57A-C Double chimera. China, Qing dynasty, 17th—18th America. By Utagawa Yoshitora (f’l. ca. 1850-80). S1998.32A-C Century. Jade; 5.6 x 8.3 x Japan. Woodblock print; ink and color on 8.2 cm. S1987.824 Complete Picture of the Newly Opened Port of paper; 37.0 x 74.3 cm. Gift of the Daval Among the Five Nations: Americans. By Yokohama. By Hashimoto Sadahide (1807-?). Elephant. China, Song dynasty (960-1279). Foundation, from the Collection of Utagawa Kunihisa II (1832-1891). Japan. Japan. Woodblock print; ink and color on 34.8 Jade; 5.3 x 11.8 x 7.6 cm. si987.825 Ambassador and Mrs. William Leonhart, Woodblock print; ink and color on paper; paper; 69.5 x 191,1 cm. Gift of Ambassador and S199U48A-C 34.8 x 23.9 cm. Gift of Ambassador and Mrs. William Leonhart, S1998.58A-C Dog. China, Ming-Qing dynasty, 17th century. Mrs. William Leonhart, S1998.34 Jade; 3.1 x 7.6 x 3,8 cm. S1987.835 Pictures of a Children's Dance Peformance at Picture of Foreigners of the Five Nations the Gankiro in Yokohama. By Utagawa Among the Five Nations: Russians. By Utagawa Carousing in the Gankiro. By Yoshiiku Ikkeisai 35.0 Bird pendant. China, Western Zhou dynasty, Yoshikazu (fl. ca. 1850-70). Japan. Woodblock Kunihisa II (1832-1891). Japan. Woodblock print; (1833-1904). Japan. Woodblock print; ink and uth-ioth century b.c.e. Jade; 7.0 x 9.0 x 0.4 cm. print; ink and color on paper; 36.4 x 73.7 cm. ink and color on paper; 34.8 x 23.9 cm. Gift of color on paper; 34.8 x 72.8 cm. Gift of S1987.846 Gift of the Daval Foundation, from the Ambassador and Mrs. William Leonhart, Ambassador and Mrs. William Leonhart, Collection of Ambassador and Mrs. William S1998.35 S1998.66A-C Rat. China, Song dynasty, I2th-i3th century. Leonhart, S1991.149A-C Jade; 5.8 x 1.3 x 1.2 cm. S1987.878 Among the Five Nations: The French. By Picture of a Procession of Foreigners at Americans Strolling About. By Utagawa Utagawa Kunihisa II (1832-1891). Japan. Yokohama. By Utagawa Yoshikazu (act. Ox. China, Ming dynasty, I5th-I6th century. Yoshifuji (1828-1887). Japan. Woodblock print; Woodblock print; ink and color on paper; 1850-70). Japan. Woodblock print; ink and color Jade; 2.9 x 6.0 x 3.5 cm. S1987.886 ink and color on paper; 35.4 x 24.6 cm. Gift x 23.5 cm. Gift of Ambassador and on paper; 36.4 x 73.7 cm. Gift of Ambassador of the Daval Foundation, from the Collection of Mrs. William Leonhart, S1998.36 and Mrs. William Leonhart, S1998.72A-C Ornamental disk. China, Qing .dynasty, 18th Ambassador and Mrs. William Leonhart, century. Jade; 15.7 x 12.6 x 0.7 cm. S1987.922 S1991.150 Spectacle of the Imperial Diet Building at The United States of North America. By Sawai-cho in Kojimachi Ward. Tokyo. By Utagawa Yoshikazu (act. 1850-70). Japan. The above objects were gifts of Arthur M. Picture of a Locomotive Along the Yokohama Utagawa Kunitoshi (1847-1899). Japan. Woodblock print; ink and color on paper; Sackler. Waterfront. By Utagawa Hiroshige III Woodblock print: ink and color on paper; x 24.0 cm. Gift of Ambassador and (1843-1894). Japan. Woodblock print; ink and 37.0 x 73.0 cm. Gift of Ambassador and Mrs. William Leonhart, S1998.79 Nazha Slaying the color on paper; 36.7 x 75.0 cm. Gift of the Dragon King. China, ca. Daval Mrs. William Leonhart, S1998.39A-C 1875-1925. Jade; 11.2 x 10.2 x 5.1 cm. Transfer from Foundation, from the Collection of Ambassador Railway Timetable. By Utagawa Yoshitora (act. the Department of Mineral Sciences, National and Mrs. William Leonhart, S1991.151A-C Picture of a Salesroom in a Foreign Mercantile 1850-80). Japan. Woodblock Print; ink and color Museum of Natural History, Smithsonian Firm in Yokohama. By Hashimoto Sadahide on paper; 37.0 x 25.1 cm. Gift of Ambassador Institution, S1992.75 Picture of a Mercantile Establishment in (1807-?). Japan. Woodblock print; ink and tolor and Mrs. William Leonhart, S1998.100 Yokohama. By Hashimoto Sadahide (born on paper; 34.8 x 72.8 cm. Gift of Ambassador Tortoise. China, Qing dynasty, late isth-early 1807). Japan. Woodblock print; ink and color and Mrs. William Leonhart, S1998.44A-C 19th century. Agalmatolite; 4.2 x 7.3 x 14.6 cm. on paper; 36.5 x 75.3 cm. Gift of the Daval Transfer from the Department of Mineral Foundation, from the Collection of Ambassador Picture of a Parlor in a Foreign Mercantile Firm Sciences, National Museum of Natural History, and Mrs. William Leonhart, S199U52A-C in Yokohama. By Hashimoto Sadahide (1807-?), Smithsonian Institution, S1995.94 Japan. Woodblock print; ink and color on Kanagawa, Noge, and Yokohama: Evening paper; 36.4 x 74.2 cm. Gift of Ambassador and Scene of Yokohama By Utagawa Hiroshige I! Mrs. William Leonhart, S1998.47A-C (1826-1869). Japan. Woodblock print; ink and color on paper; 33.8 x 145.0 cm. Gift of Ambassador and Mrs. William Leonhart, S1998.26A-F ANNUAL RECORD 5 FSJG 2005 ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS Gifts, Grants, and Contributions Private donations are crucial to the museum's ability to fulfill its mission. The following individuals and PATRONS’ CIRCLE MR. AND MRS. JOHN B. MANNES PAUL ELAINE organizations provided financial support of $1,000 or more to the Freer & Sackler Galleries between October 1, ($i,ooo-$2,499) AND MARKS MR. AND MRS. THEODORE ALFOND THE HONORABLE EDWARD E. MASTERS AND 2004, and September 30, 2005. The museum is grateful to all donors for their generous support of its programs. MR. AND MRS. ROBERT H. BAKER MS. ALLENE MASTERS MR. AND MRS. ROBERT T. BASSECHES MS. ANNE MCILVAINE Each year, members of the Friends of the Freer & Sackler Galleries, the museum’s sole benefactors group, MS. SUSANNE K. BENNET MR. TERENCE MCINERNEY generously contribute thousands of dollars to fund core museum programs— exhibitions, public and educa- MR. ROBIN A. BERRINGTON MR. AND MRS. JAWAHAR MEHRA tional programs, research, and acquisitions—that do not receive federal funding. The museum is deeply THE HONORABLE ROBERT 0. BLAKE AND MS. REBECCA A. MILLER AND MR. indebted to the Friends for their steadfast support. The success of the Freer & Sackler Galleries continues to MRS. BLAKE CHRISTOPHER J. VIZAS grow each year due to their beneficence. MR. AND MRS. DRIES BLITZ DR. AND MRS. ALLEN M. MONDZAC DR. ALICE A. BOOHER MS. AGNES TABAH AND During the 2005 fiscal year, membership contributions helped to underwrite Cai Guo-Qiang—Traveler: Reflections; MR. AND MRS. JERE BROH-KAHN MR. STEVEN J. MUFSON MR. AND MRS. WILLIAM A. NITZE Dream Worlds : Modern Japanese Prints and Paintings from the Robert O. Muller Collection; Iraq and China; MR. AND MRS. DAVID S. BRUCE .MR. AND MRS. HALSEY NORTH Ceramics, Trade, and Innovation; Asian Games: The Art of Contest, and Caravan Kingdoms: Yemen and the MS. JENNIFER CHOI MR. ANDREW OLIVER Ancient Incense Trade. The Friends provided funds to acquire a Mughal lacquered mirror case with a portrait by MR. AND MRS. BRICE M. CLAGETT WILLIAM H. PETERS MR. MRS. WILLARD G. CLARK MR. AND MRS. ‘Abid, a bronze Shiva Nataraja, and Japanese paintings. They also provided matching funds for the Mellon AND MRS. LAURA J. PLATTER MR. AND MRS. LOUIS R. COHEN Foundation Challenge Grant to endow the position of senior scientist in the department of conservation and MR. THOMAS COLVILLE MR. AND MRS. EARL RAVENAL scientific research. MR. AND MRS. DAVID P. REHFUSS MR. AND MRS. JOHN R. CURTIS, JR. MR. AND MRS. MICHAEL DE HAVENON DR. DOROTHY ROBINS-MOWRY Please bring any inadvertent errors in these lists to the attention of the Office of Membership and Development. MR. RAUL R. RODRIGUEZ DR. SONALDE B. DESAI AND MR. HEMANT KANAKIA MR. AND MRS. H. DAVID ROSENBLOOM Friends of the Freer DIRECTOR’S CIRCLE MS. JANET L. DEWAR AND MR. BRYAN LOGAN MR. ROBERT ROSENKRANZ AND MS. Sackler Galleries ($2,500-$4,999) ALEXANDRA MUNROE & MR. ROBERT H. ELLSWORTH MRS. MARILYNN B. ALSDORF MR. FABIO ROSSI AND MR. AND MRS. JAMES G. EVANS AND MARINKA BENNETT SPONSORS’ CIRCLE JOHN MRS. ANNA MARIA ROSSI DR. AND MRS. ROBERT S, FEINBERG KENNETH D. BRODY AND ($10,000 and above) MR. MR. AND MRS. DONALD RUBIN DR. AND MRS. HORACE Z. FELDMAN THE HONORABLE CAROLYN S. BRODY MRS. SUNANDINI AMBEGAONKAR AND MS. LOUISE A. RUSSELL MS. DALLAS FINN DR. PRAKASH AMBEGAONKAR MS. JANE DEBEVOISE AND MR. PAUL CALELLO MS. DOROTHY ING RUSSELL MR. AND MRS. JOHN G. FORD MR. JEFFREY P. CUNARD MR. AND MRS. JOHN DESPRES DR. MARIETTA LUTZE SACKLER MS. ELLEN L. FROST AND MR. AND MRS, RICHARD M. DANZIGER MR. AND MRS. GIUSEPPE ESKENAZI MR. ETSUYA SASAZU MR. WILLIAM F. PEDERSEN MR. AND MRS. HART FESSENDEN MRS. GEORGE W. HALDEMAN MR. ANTHONY H. SCHNELLING AND DR. KURT A. GITTER AND MS. ALICE R. YELEN BARTOS MS. SHIRLEY Z. JOHNSON AND DR. MAHNAZ ISPAHANI AND MR. ADAM MS. BETTINA WHYTE DR, MARGARET A. GOODMAN MR. CHARLES RUMPH MRS. ASHOK KAVEESHWAR DR. AND MR. AND MRS. ROY A. SCHOTLAND CRAIG R. HAAS AND JEFFERY A. WATSON MR. AND MRS. HASSAN KHOSROWSHAHI MS. MARIE-LOUISE KENNEDY MR. AND MRS. CHRIS SCHROEDER MR. AND MRS. JAMES M. HAWLEY III AND GILBERT H. KINNEY ANN MR. ALBERT G. LAUBER. JR. AND MR. ISAO SETSU AND MRS. TAKAKO SETSU MRS. CYNTHIA HELMS MR. AND MRS. J. SANFORD MILLER MR. CRAIG W. HOFFMAN MR. AND MRS. JACK M. SEYMOUR. JR. MR. AND MRS. FRANK W. HOCH MS. DIANE SCHAFER AND DR. JEFFREY STEIN MR. AND MRS. SEYMOUR MOSKOWITZ DR. AND MRS. ROBERT L. SHERMAN MRS. JAYJIA HSIA MR. AND MRS. JAMES J. SHINN DR. AND MRS. STANTON P. NOLAN MR. AND MRS. ABRAHAM SIRKIN DR. AND MRS. SEBASTIAN IZZARD EBRAHIMI FAMILY FOUNDATION ANONYMOUS MRS. LUCILE STARK MR. AND MRS. PHILIP C. JESSUP, JR. FINE ARTS MR. AND MRS. HARVEY PLOTNICK BARCLAY SIMPSON MR. MICHAEL STARN MR. AND MRS. STANTON JUE MRS. LOIS S. RAPHLING MR. DOUGLAS STARN MR. AND MRS. NORTON N. KATZ MR. ROBERT REA AND MR. JAMES MATHEWS MR. AND MRS. ROGER D. STONE FOUNDERS’ CIRCLE MR. AND MRS. PETER KOLTNOW MRS. SANAE IIDA REEVES MS. NUZHAT SULTAN ($5,ooo-$9,999) LT. COLONEL AND MRS. WILLIAM K. KONZE MISS ELIZABETH C. RIDOUT MR. AND MRS. LEO SWERGOLD THE HONORABLE MAX N. BERRY AND MR. AND MRS. CAMERON LACLAIR DR. AND MRS. KENNETH X. ROBBINS MRS. BERRY MR. AND MRS. RANVIR K. TREHAN CAPTAIN NORMAN G. LANCASTER U.S.N. (RET.) MS. KAROL K. RODRIGUEZ B. MR. ROGER E. COVEY THE HONORABLE ALEXANDER MR. DOUGLAS A.J. LATCHFORD DR. AND MRS. GERALD D. SLAWECKI TROWBRIDGE t AND MR. AND MRS. RICHARD J. CUMMINS MR. JEROME A. COHEN AND MR. SAMUEL A. STERN MRS. ELEANOR H. TROWBRIDGE DRS. ASHOK AND MARION DESHMUKH MRS. JOAN LEBOLD COHEN DR. RONALD M. COSTELL AND MR. AND MRS. SHAO F. WANG MR. AND MRS. JOSEPH F. HORNING. JR. MR. JOHN M. LEGER AND MS. MARSHA E. SWISS MR. AND MRS. GUY WEILL SIR JOSEPH E. HOTUNG MS. SOPHIE ORLOFF-LEGER PROF. ELIZABETH TEN GROTENHUIS AND MS. DORIS WIENER MR. AND MRS. R. ROBERT LINOWES MR. AND MRS. HERBERT LEVIN DR. MERTON C. FLEMINGS MR. AND MRS. JAMES D. WOLFENSOHN GLENNA AND DAVID OSNOS AMBASSADOR AND MRS. JAMES R. LILLEY MR. AND MRS. RICHARD TOMASETTI MR. KOJI YANAGI WASHBURN ROBINSON MR. AND MRS. WILLIAM H. LITTLEWOOD MS. JANE THE BRIMSTONE FUND MR. AND MRS. DAVID YAO JACKSON P. TAI MS. LINDA LOWENSTEIN MR. AND MRS. SOTHEBY'S MR. AND MRS. ROBERT S. ZELENKA MR, AND MRS. LADISLAUS VON HOFFMANN MR. AND MRS. PETER LUNDER MS. KATIE M. ZIGLAR AND MS. SHELBY WHITE/LEON LEVY DR. ROBERT W. LYONS AND MR. DICKINSON MILLER PHILANTHROPIC FUND OF THE JEWISH DR. VIRGINIA P. RIGGS DR. AND MRS. JAMES ZIGLAR COMMUNAL FUND MR. AND MRS. YO-YO MA MR. AND MRS. PAUL ZIMMERMAN MR. AND MRS. ALAN L. WURTZEL THE HONORABLE AND THE ARTHUR M. SACKLER FOUNDATION MRS. JOHN D. MACOMBER t DECEASED ANNUAL RECORD 6 FS|G 2005 ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS Annual Support EMBASSY OF VIETNAM $1,000 to $4,999 Gifts to Capital Planned Gifts THE WORLD BANK for Programs and Projects MS. SUSAN SPICER ANGELL and Endowment Fund ANNIE WONG LEUNG KIT WAH ART We are grateful to the following $100,000 and above $5,000 to $9,999 FOUNDATION $1,000,000 and above AL-MITHAQ PRESS generous benefactors who have E. RHODES AND LEONA B. CARPENTER ARAB-AMERICAN AND CHALDEAN COUNCIL MRS. HENDRIK H. VAN BIEMA t included FOUNDATION ARAMCO SERVICES COMPANY COVINGTON AND BURLING the Freer & Sackler THE GETTY GRANT PROGRAM THE HONORABLE MAX N. BERRY AND MR. AND MRS. ARNAUD DE BORCHGRAVE Galleries in their estate plans. $100,000 to $999,999 MRS. BERRY FUNDAQAO CALOUSTE GULBENKIAN MR. AND MRS. JOHN DESPRES E. RHODES AND LEONA B. CARPENTER KOQ HOLDING A.S. CAPITAL GROUP COMPANIES MR. LUCIAN ABERNATHY MR. AND MRS. JOHN L. ERNST FOUNDATION GOVERNMENT OF PORTUGAL CHAMBER MUSIC AMERICA GEORGE AND BONNIE BOGUMILL THE HONORABLE RICHARD M. FAIRBANKS AND MR. ROBERT HATFIELD ELLSWORTH MINISTRY OF FOREIGN AFFAIRS OF CLEARY, GOTTLIEB. STEEN & HAMILTON LLP MRS. FAIRBANKS MRS. VIRGINIA HARRISON ELLIOTT t THE ANDREW W. MELLON FOUNDATION TURKISH REPUBLIC. THE MINISTRY.OF THE COMMONWEALTH FUND MR. RALPH GREENHOUSE MR. AND MRS. RICHARD S. GREENFIELD EZAT M. SOUDAVAR CULTURE AND TOURISM OF TURKISH MR. JEFFREY P. CUNARD MR. AND MRS. STANTON JUE THE HENRY LUCE FOUNDATION, INC. THE STARR FOUNDATION REPUBLIC. THE TURKISH EMBASSY IN MR. AND MRS. FARHAD EBRAHIMI MISS NARINDER K. KEITH t MR. AND MRS. GORDON S. HODGSON WASHINGTON. D.C. AND ELLEN BAYARD MISS WEEDON FOUNDATION MS. ELIZABETH A. HYLTON Under $100,000 RAJINDER K. KEITH THE PROMOTION FUND OF THE ENVIRONMENTAL FILM MR. FESTIVAL IN THE INDIANAPOLIS MUSEUM OF ART NONE t AND MRS. DOUGLAS F. REEVES PRIME MINISTRY OF TURKEY NATION'S CAPITAL THE JEFFERSON RETIREMENT COMMUNITY MR. AND MRS. L. BRADLEY STANFORD TURKISH CULTURAL FOUNDATION GEORGE WASHINGTON UNIVERSITY DR. AND MRS. ASHOK KAVEESHWAR MRS. HENDRIK H. VAN BIEMA t THE GREEN FOUNDATION IN SEOUL MR. AND MRS. AZER KEHNEMUI MR. AND MRS. ROBERT S. ZELENKA $50,000 to $99,999 HARRIS TEETER. INC. MS. MRS. RICHARD HELMS MARIE-LOUISE KENNEDY HAYEL SAID ANAM GROUP FUNDAQAO LUSO-AMERICANO MR. RICHARD LEVI HONG KONG ECONOMIC AND TRADE OFFICE FUNDAQAO ORIENTE MS. CLAUDINE B. MALONE HUDSON INSTITUTE UPS MR. AND MRS. JOHN B. MANNES MR. AND MRS. GIRISH JINDIA THE MASINTER FAMILY FOUNDATION MR. AND MRS. PETER LUNDER $25,000 to $49,999 MERIDIAN INTERNATIONAL CENTER LOMA MR. AND MRS. LEE M. FOLGER/FOLGER FUND MORGAN STANLEY. INC. MANDARIN ORIENTAL HOTEL GLOBAL HERITAGE FUND MR. FURMAN MOSELEY MR. AND MRS. WILLIAM A. NITZE HUNT OIL COMPANY MR. AND MRS. SEYMOUR MOSKOWITZ THE HAGOP NPR KEVORKIAN FUND MS. YOSHIE OGAWA PARNASSUS FOUNDATION MR. AND MRS. WILLIAM H. PETERS GLENNA AND DAVID OSNOS MINISTRY OF CULTURE AND TOURISM PRINCETON BROOKE FOUNDATION. INC. MR. AND MRS. TIM RATTRAY OF THE REPUBLIC OF YEMEN DAME JILLIAN T SACKLER RUBIN MUSEUM OF ART THABET INVESTMENTS COMPANY SYC THE HONORABLE JAMES H. AND $10,000 to $24,999 TURKISH-AMERICAN CHAMBER OF COMMERCE MRS. SCHEUER MR. HOSSEIN AFSHAR & INDUSTRY (TACCI) SHISEIDO COMPANY. LTD. ALTRIA GROUP. INC. UNITED AIRLINES MRS. CARL SWAN SHULTZ ANONYMOUS UNIVERSITY OF ILLINOIS AT URBANA- DR. MARY SLUSSER THE BANKS ASSOCIATION OF TURKEY CHAMPAIGN MR. ROBERT E. STOCKHO BARAKAT FOUNDATION WASHINGTON PARENT MS. MARTHA SUTHERLAND BRISTOL-MYERS SQUIBB CO. THE WASHINGTON POST COMPANY TAIPEI ECONOMIC AND CULTURAL BRYN MAWR COMMUNICATIONS GROUP. LLC MRS. SIDELLE WERTHEIMER REPRESENTATIVE OFFICE IN THE CANADIAN NEXEN PETROLEUM YEMEN WESBILD. INC. UNITED STATES COUNCIL OF AMERICAN OVERSEAS WORLD BONSAI FRIENDSHIP FEDERATION TAM BRAZIL AIRLINES RESEARCH CENTERS MR. AND MRS. DAVID Y. YING MR. AND MRS. RICHARD TOMASETTI MR. AND MRS. RICHARD M. DANZIGER YOUNG PRESIDENT'S ORGANIZATION TURNING THE PAGE DRS. ASHOK AND MARION DESHMUKH MS. KATIE M. ZIGLAR AND MR. AND MR. AND MRS. HART FESSENDEN MRS. CARL R. VARBLOW MR. DICKINSON MILLER MR. AND MRS. LADISLAUS VON MR. AND MRS. VICTOR L. HAUGE HOFFMANN INTERNATIONAL BANK OF YEMEN THE WEEK PUBLICATIONS, LLC THE JAPAN FOUNDATION MR. AND MRS. DAVID YAO MS. SHIRLEY Z. JOHNSON AND MR. CHARLES RUMPH MR. H. C. LUCE AND MS. TINA LIU MR. AND MRS. J. SANFORD MILLER THE NEW YORK COMMUNITY TRUST- THE ISLAND FUND OCCIDENTAL PETROLEUM CORPORATION THE ROSENKRANZ FOUNDATION MS. DIANE SCHAFER AND DR. JEFFREY STEIN DR. AND MRS. ROLF G. SCHERMAN TOFFLER ASSOCIATES TOYOTA MOTOR NORTH AMERICA. INC. MR. AND MRS. RANVIR K. TREHAN t DECEASED ANNUAL RECORD 7 FS | G 2005 ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS Budget Summary Statement of Activity and Changes in Fund Balance Fiscal Year 2005 For the year ended September 30, 2005, with comparison to the year ended OCTOBER 1. 2004-SEPTEMBER 30, 2005 September 30, 2004 The following charts reflect the income and expense distributions for the Freer Gallery of Art & Arthur M. Sackler Gallery during fiscal year 2005. The financial statements Support and Revenue 2005 TOTAL 2004 TOTAL included in this report are the representation of management and are not audited. Federal allocation $5,419,300 $5,742,050 Endowment income-Freer 5,562,772 5,583,475 Endowment income-Other 1,354.061 946,510 Income Shop sales 1,965,895 2,230,528 Gifts, grants, and membership 1,847,025 2,869,531 SI Grants: Latino, ResEquip, IRM-CIS, SchStudies 130,700 129,825 Other: Rights sales, Royalties, Benefits 197,767 207,219 Total support and revenue $16,477,520 $17,709,138 Expenses Office of the director Director's office $655,683 $511,689 Collections acquisition 755,493 1,358,370 Publications 322,165 458,905 Exhibition program 1,760,691 2,107,577 Subtotal— Office of the director $3,494,032 $4,436,541 Office of the deputy director Deputy director's office $192,993 $149,611 Curatorial research 1.449,672 1,551,258 Conservation 1,388,636 . 1,262,449 Collections management 847,091 731,837 Education 954.043 888,384 Imaging and photographic research 335,048 358,328 Library, Archives, and Rights 451,500 489,749 Library acquisitions 145,200 140,688 $5,764,183 $5,572,304 Subtotal— Office of the deputy director Expenses Office of the associate director MUSEUM SHOPS* Associate director's office $185,365 $223,786 14% Subtotal—Office of the associate director $185,365 $223,786 OFFICE OF Office of design and production OFFICE OF THE DIRECTOR EXTERNAL AFFAIRS 23% $1,258,442 $1,172,928 Design and production 7% Information technology 393,387 420,649 OFFICE OF DESIGN Subtotal— Office of design and production $1,651,829 $1,593,577 & PRODUCTION 11% of external affairs Office * PLEASE NOTE THAT $721,520 Membership and development and special events $766,484 OFFICE OF FINANCE THE MUSEUM SHOPS ARE AND ADMINISTRATION OFFICE OF THE Public affairs 215,965 321,504 ACCOUNTED FOR WITHIN 5% DEPUTY DIRECTOR 39% THE OFFICE OF FINANCE $982,449 $1,043,024 Subtotal— Office of external affairs ADMINISTRATION. OFFICE OF THE AND Office of finance and administration ASSOCIATE DIRECTOR 1 % Finance, administration, and personnel $813,768 $677,572 Museum shops Cost of goods sold 1,100,654 1,181,682 Other costs 1.073,534 994.887 Changes in Fund Balance 2005 Total Subtotal— Office of finance and administration $2,987,956 $2,854,141 Fund balance, beginning of year $9,569,670 $15,065,814 $15,723,373 Total expenses Plus: Prior Period Adjustment 26,217 1,411,706 Excess (deficiency) of support and revenue Plus: Excess over Expenses over expenses before other financing $1,411,706 $1985,765 Fund Balance, end of year 11.007,593 Other financing use/Transfers Minus: Encumbrances 1,337.745 -0- -300.000 Transfer to Endowment (Mellon match) of year 9,669,848 -0- -36,917 Adjusted Fund Balance, end Transfer to Central Trust expenses Excess (deficiency) of support and revenue over Restricted Fund Balance 9,724.341 1,411,706 1,648,848 after other financing Discretionary Fund Balance -54,493 Fund balance, beginning of year 9,569,670 7,242,533 Total $9,669,848 Fund balance, end of year 10,981,376 8,891,381 678,289 Plus: Prior Period Adjustment 26,217 Adjusted Fund Balance, end of year $11,007,593 $9,569,670 FS G 2005 ANNUAL RECORD 8 | ACQUISITIONS, CONTRIBUTIONS, AND FINANCIALS Annual Benefit Gala Endowment Funds On October 26, 2005, the Freer and Sackler hosted its sixth annual sold-out gala celebrating the open- Arthur M. Sackler Gallery MARKET VALUE MARKET VALUE Freer Sackler 1 & Galleries VlARKET VALUE MARKET VALUE ing of Style and Status: Imperial Costumes from 9/30/05 9/30/04 9/30/05 9/30/04 Ottoman Turkey. Three hundred eighty guests attended this Else Sackler Public Affairs Endowment $5,213,090 glamorous evening, which honored $4 , 825,366 Bill and Mary Meyer Concert $265,891 $246,116 four Turkish designers for their contribution For public affairs activities to increase Series Endowment to fashion. The event raised over 260 , it awareness of the gallery, its collections, To fund and support the Bill and $ 000 , making and programs Mary Meyer Concert Series the museum's highest grossing benefit dinner. We are grateful to the gala committee members and Else Sackler Fund Publications Endowment Fund $1,851,387 $546,821 $506,151 $1,713,690 supporters listed below. For fresh flowers at the entrance For research and publication of the permanent collections HONORARY COMMITTEE to the Sackler Gallery His Excellency The Ambassador of the Hirayama Fund $3,101,167 $2,870,517 Republic of Turkey and Mrs. 0. Faruk Logoglu For Japanese painting conservation, Representative Roy Blunt Freer Gallery of Art research, and training Representative Robert Wexler Freer Estate Endowment $117,740,086 $108,983,157 Sir Joseph Hotung Fund $130,597 $120,884 Representative Ed Whitfield General operating funds, For library acquisitions GALA COMMITTEE including acquisitions Moynihan Endowment Fund $209,850 $194,242 Mrs. 0. Faruk Logoglu, Chair To further Edward Waldo Forbes Fund $2,377,273 $2,200,463 research on the Mugal Drs. Yalgin and Serpil Ayasli emperor Babur To further scientific study of the care, Mrs. Arnaud de Borchgrave conservation, and protection of works Mr. and Mrs. Ahmet Ertegun Chinese Art Research Fund $593,069 $548,959 of art through lectures, colloquia, The Honorable For Chinese art research, James H. Holmes and fellowships projects, and programs Ms. Shirley Z. Johnson Mrs. Doro Bush Koch Harold P. Stern Memorial Fund $2,490,641 $2,305,399 Education Program Fund $1,208,136 $1,118,280 Mrs. Aba Bonney Kwawu For increasing the appreciation and For education programs Mr. G. Lincoln McCurdy understanding of Japanese art Mrs. William A. Nitze Nancy Fessenden Endowment for Education $816,340 $507,973 For education Mr. Suleyman Orakcioglu Richard Louie Memorial Fund $130,586 $120,874 programs To support an annual internship Mrs. Mandell J. Ourisman Director’s Discretionary Fund $545,785 $505,192 for a student of Asian descent Mrs. Arthur M. Sackler, D.B.E. Established by Peggy and Richard M. Danziger Mr. Ziya Sukun for exhibitions and projects Camel Fund $173,718 $160,797 CHAIR For research expenses related Anne van Biema Endowment Fund $7586.073 $709,231 Kop Holding to conservation A.§. To increase knowledge and appreciation UPS of Japanese graphic arts from 1600 to 1900 SPONSORS Anne van Biema Fellowship Endowment $532,681 $493,063 Drs. Marion and Ashok Deshmukh To promote excellence in research and Mr. and Mrs. Hart Fessenden publication of the Japanese visual arts ITKIB Association USA Mellon Senior Scientist Fund $1,422,271 $304,277 Mr. Robert Rosenkranz and Ms. Alexandra Munroe To endow a senior conservation Profilo Holding A.§. science position Toyota Motor North America Turkish-American Chamber of Commerce and Industry PATRONS Aramco Services Company Mr. and Mrs. Farhad Ebrahimi The Honorable William A. Nitze and Mrs. Nitze Ms. Diane H. Schafer and Dr. Jeffrey A. Stein Mr. and Mrs. James Shinn Wesbild Inc. MEDIA SPONSORS Washington Life DC Magazine INDIVIDUAL BENEFACTORS Mrs. Cynthia Helms Mr. and Mrs. Victor Hauge ANNUAL RECORD 9 FS G [ 2005 G Exhibitions Arthur M. Sackler Gallery Fiscal year 2005 started with the highly anticipated and well-received Dream Worlds: Modern Japanese Prints and Paintings from the Robert 0. Muller Collection. The exhibition showcased one of the world's finest collections of Japanese prints from the late 1860s through the 1940s. Iraq and China: Ceramics, Trade, and Innovation focused on Iraqi ceramics in the ninth century—a time when Islamic pottery responded to a wave of luxury Chinese goods. Asian Games: The Art of Contest explored the role of games in the diverse societies of pre-modern Asia. Caravan Kingdoms: Yemen and the Ancient Incense Trade examined the cultural traditions of ancient kingdoms in the southern Arabian Peninsula. These kingdoms grew fabulously wealthy from control over caravan routes and the international trade of frankincense and myrrh. In the Realm of Princes: The Arts of the Book in Fifteenth-Century Iran and Central Asia presented paintings, manuscripts, and portable luxury objects from Iran and present-day Afghanistan. The three-object installation Chinese Mountains of Immortality: A Focused Look offered a close look at mountain imagery in Chinese art. Gold: The Asian Touch drew exclusively from the Freer and Sackler collections to explore the diverse methods and Cai meanings assigned to gold in different Asian cultures. The Perspectives series of contemporary art continued with Guo-Qiang’s Traveler: Reflection, a meditation on cultural exchange, and Mei-ling Flom’s Floating Mountains Singing Clouds, which offered a contemporary interpretation of traditional Chinese landscape painting. SPECIAL EXHIBITIONS, LONG-TERM LOANS(*), AND CHANGING THEMATIC SELECTIONS^*) CALIPHS AND KINGS: THE ART ASIAN GAMES: THE ART OF CONTEST ARTS OF CHINA** AND INFLUENCE OF ISLAMIC SPAIN FEBRUARY 26-MAY 15, 2005 (SELECTED OBJECTS ON LOAN) THROUGH OCTOBER 17, 2004 LONG-TERM ASIA IN AMERICA: VIEWS OF CHINESE ART CAI GUO-QIANG: TRAVELER: REFLECTIONS FROM THE INDIANAPOLIS MUSEUM OF ART JAPANESE PAINTING* OCTOBER 30, 2004-JULY 31, 2005 THROUGH MARCH 20, 2005 (highlights from the collection and important loans) IMMORTALITY: DREAM WORLDS: MODERN JAPANESE CHINESE MOUNTAINS OF THROUGH JULY 2005 PRINTS AND PAINTINGS FROM THE A FOCUSED LOOK ROBERT 0. MULLER COLLECTION APRIL 2-SEPTEMBER 25, 2005 IKAT: HIGHLIGHTS FROM THE GIFT NOVEMBER 6. 2004-JANUARY 2. 2005 OF GUIDO GOLDMAN CONTEMPORARY JAPANESE CERAMICS** LONG-TERM IRAQ AND CHINA: CERAMICS, TRADE, AND THROUGH APRIL 24, 2005 INNOVATION SCULPTURE OF SOUTH AND GARDENS: DECEMBER 4. 2004-JULY 17, 2005 CHINESE POTS FOR TABLETOP SOUTHEAST ASIA** HONORING THE WORLD BONSAI LONG-TERM FOUNTAINS OF LIGHT: ISLAMIC FRIENDSHIP FEDERATION METALWORK FROM THE NUHAD ES-SAID MAY 27-SEPTEMBER 5, 2005 LUXURY ARTS OF THE SILK COLLECTION* ROUTE EMPIRES** AND THE OPENED JANUARY 15. 2005 (LONG-TERM) CARAVAN KINGDOMS: YEMEN LONG-TERM ANCIENT INCENSE TRADE ART OF MUGHAL INDIA JUNE 25-SEPTEMBER 11, 2005 THROUGH FEBRUARY 21, 2005 PERSPECTIVES: MEI-LING HOM IN THE REALM OF PRINCES: THE ARTS OF AUGUST 27-MARCH 5, 2006 THE BOOK IN FIFTEENTH-CENTURY IRAN AND CENTRAL ASIA GOLD: THE ASIAN TOUCH MARCH 19-AUGUST 7, 2005 SEPTEMBER 10, 2005-FEBRUARY 19, 2006 ANNUAL RECORD 10 FS | 2005 PROGRAMS Freer Gallery of Art In fiscal year 2005, the Freer continued to exhibit the works of James McNeill Whistler. Pretty Women: Freer and the Ideal of Feminine Beauty explored some of the stories and meaning behind many of the paintings of beautiful women in Freer’s collection. Games, Contests, and Artful Play in Japan complemented the Sackler exhibition, Asian Games: Art The of Contest. Eleven ceramic-vessels by one of Japan's greatest potters were the focus of Rusticity Refined: Kyoto Ceramics by Ninsei. Boating on a River, inspired by the six-hundred-year anniversary of Zheng He's construction of a massive Chinese “treasure fleet" and his seven seafaring expeditions, surveyed the role of boats in later Chinese paint- ing history. Rotations in the Freer Gallery included Arts of the Indian Subcontinent and the Himalayas, and Vietnamese Ceramics, on long-term view. EXHIBITIONS AND CHANGING THEMATIC SELECTIONS (f) ARTS OF THE INDIAN SUBCONTINENT AND GAMES, CONTESTS, AND ARTFUL PLAY JAPANESE SCREENSf THE HIMALAYAS IN JAPAN LONG-TERM OPENED OCTOBER 16. 2004 (LONG-TERM) MARCH 19-OCTOBER 23, 2005 KOREAN CERAMICS! BLACK & WHITE: CHINESE CERAMICS FROM RUSTICITY REFINED: KYOTO CERAMICS LONG-TERM THE 10TH-14TH CENTURIES BY NINSEI OPENED DECEMBER 18. 2004 (LONG-TERM) MARCH 19-OCTOBER 23, 2005 ART FOR ART'S SAKE! LONG-TERM WORK AND COMMERCE: EVERYDAY LIFE LUXURY AND LUMINOSITY: VISUAL IN CHINESE PAINTING CULTURE AND THE MING COURT JAMES MCNEILL WHISTLER! THROUGH JANUARY 17. 2005 THROUGH JUNE 26, 2005 LONG-TERM BOATING ON A RIVER VIETNAMESE CERAMICS FROM THE RED ANCIENT CHINESE ART! FEBRUARY 12-AUGUST 21. 2005 RIVER DELTA LONG-TERM OPENED DECEMBER 18. 2004 (LONG-TERM) LIFE AND LEISURE: EVERYDAY LIFE CHARLES LANG FREER AND EGYPT! IN JAPANESE ART PRETTY WOMEN: FREER AND THE IDEAL LONG-TERM THROUGH FEBRUARY 20. 2005 OF FEMININE BEAUTY AUGUST 13, 2005-SEPTEMBER 17. 2006 BUDDHIST ART! THE TEA CEREMONY AS MELTING POT LONG-TERM THROUGH FEBRUARY 20, 2005 SMALL MASTERPIECES: WHISTLER PAINTINGS FROM THE 1880S THE PEACOCK ROOM YOUNG WHISTLER: EARLY PRINTS AND OPENED APRIL'2. 2005 (LONG-TERM) LONG-TERM THE FRENCH SET THROUGH MARCH 13, 2005 THE RELIGIOUS ART OF JAPANf LONG-TERM ARTS OF THE ISLAMIC WORLD! LONG-TERM ANNUAL RECORD 11 FS | G 2005 PROGRAMS Education, Public Programs, and Resources "Inspired" characterizes the interpretive programs conceived and produced by the education department for a record number of visitors this year. The department's offerings supported closer looking at, deeper understanding of, and Educational Publications Teacher Workshops greater appreciation for works of art in both special exhibitions and permanent collections. Notably, three weekend The spring 2005 issue of the festivals, held in April, June, and September, celebrated the reopening of the Arts of the Indian Subcontinent and museum’s semiannual education Japanese Printmaking Himalayas galleries. "Inspired by India" weekends featured a special ImaginAsia family guide, musicians, dancers, newsletter, Asian Art Connections, NOVEMBER 14, 2004 storytellers, and scholars that brought to life works of art displayed in the galleries. highlighted the exhibition Asian Games: The Art of Contest. This issue Back to School Night for Educators The department forged new collaborations with the embassies of Indonesia and Vietnam, the John F. Kennedy Center provided background information on AUGUST 25, 2005 for the Performing Arts, and the nonprofit organization Folk Arts Rajasthan. The galleries produced a four-city tour of the exhibition, an article on popular Kazue Sawai and the Sawai Koto ensemble, working in partnership with the Japan Foundation; the Asia Society of New games with Asian origins, a poster on How to Look at Asian Art: Process, York; the University of the South in Tennessee; Towson University in Maryland; and the Sawai Koto Academy in New York. polo in Asia, a guide to group games, Function, and Meaning and other features. Cosponsored by the D.C. Arts and We gratefully acknowledge the Freeman Foundation of New York and Stowe, Vermont, for its financial support of our Humanities Education Collaborative teacher publications for the past three years. Teacher materials, available for free on our website, school outreach and In the fall of 2005, the department OCTOBER 19, 2005 all fifty nearly two hundred countries. have reached states and redesigned its Connections newsletter to better serve educators. The new, one-sheet format features background ImaginAsia information and a classroom activity Docents and Tours School and Teacher Programs ImaginAsia offered 115 programs dur- on one side and a full-sized poster, ing the fiscal year, including eighty- which depicts the corresponding art The museum's docent corps wel- Bridges to Asia Multiple-visit seven walk-in gallery tours and work- object, on the other. The fall issue, comed approximately 15,000 visitors Program with D.C. Public Schools for families and twenty-eight dedicated to the exhibition Style and shops this year, almost one third of them During the academic year, the sessions for reserved groups, among Status: Imperial Costumes from students. Docents presented 347 multiple-visit program served four- them the Cub and Boy Scouts, Ottoman Turkey, features a poster of reserved tours and 912 walk-in tours, teen classes from five different D.C. Brownie and Girl Scout troops, family a robe from seventeenth-century on a wide range of topics, through- public schools in underserved com- reunions, community groups, and Turkey and an activity comparing and out the year. Docents also assisted munities. Three of these classes for inner-city youth. contrasting the messages conveyed summer camps visitors as informal gallery inter- focused on the art of China and two ImaginAsia developed five new by contemporary clothing and by preters in the Freer Gallery on Art on the art of Japan. The program activity books for its classroom session a beautiful robes during the Ottoman Night on the Mall in July and in the included an orientation and Worlds, Year of Empire. programs—Dream Sackler Gallery for the Caravan series in which artist visits to the the Rooster, Asian Games, Artful Play the Ancient classroom alternated with tours of Kingdoms: Yemen and of In August of 2005, the department in Japan, and Shades Black and incense Trade exhibition. the galleries. The program sought to artists, them a published the latest in its series of White. Visiting among deepen students’ understanding of educational guides to the Freer and Vietnamese rice-doll maker, a Kabuki artistic traditions of China or In addition to tours for particular the Sackler permanent collection. The dance troupe, and a classical Indian exhibitions and daily "Highlights" Japan by making connections Arts of Japan: A Teacher's Guide dancer, drew the largest audiences. tours, the department offered the between the work of living artists introduces the diverse world of The John F. Kennedy Center for the and the works on view in the gal- following thematic tours for adults ImaginAsia Japanese art by exploring three Performing Arts invited generously students; Animals in Asian leries. This program was and/or in its Prelude Festival. themes— place, season, and materials. to participate supported by the Freeman Art, Art and Archeology of Ancient on The guide offers background informa- There, the museum’s program Subcontinent Foundation. China, Art of the Indian puppets—to high- tion on Japan— its physical landscape, making monkey the and the Himalayas, Art of of China— attracted religious traditions, and cultural rela- light the Festival of Islamic World, Arts of China, Arts participants. tionships with neighboring East Asian more than five hundred Japan, Chinese Furniture, How to children countries. Special sections highlight Overall, 4,407 parents and Art, Religions of Asia, Look at Asian participated in these ImaginAsia pro- Mount Fuji, literature, ukiyo-e, and Whistler and American Art, and Freer and calligraphy, among others. Featured grams. VIARC desks in the Whistler and the Peacock Room. ImaginAsia’s fam- objects, described in detail, are repro- Sackler distributed ily-program activity books to nearly duced in full color on laminated cards In fiscal year 2005, we reviewed and thousand visitors. included in the packet. The guide also seven reinvigorated our tour strategies and five thousand visitors offers lesson plans, contemporary Approximately expanded our offerings to provide commentary on the guide’s three availed themselves of the activity visitors with a greater range of expe- themes, and an introduction to the book on Naga Kings in Hindu and riences from which to choose. placed in Freer music of Japan. Buddhist art that was training ses- During several focused gallery one. Through its programs sions and small group discussions, and publications, the ImaginAsia pro- docents reviewed principles of gram served a total of 16,470 visitors experimented museum learning and in this fiscal year. with a variety of educational approaches. ANNUAL RECORD 12 FSIG2005 PROGRAMS Special Programs Gallery Talk: Arts of the Indian Children’s Rice Dolls Art Night on the Mall Musicians from Marlboro I Subcontinent and the Himalayas ImaginAsia Family Program NOVEMBER 17 2004 Debra Diamond Festivals JULY 9 AND 10, 2005 Arab American Rap: Hagage Masaed SEPTEMBER 16, 2005 Musicians from Marlboro II JULY 7 2005 Inspired by India DECEMBER 7 2004 Presented as part of the Vietnam This concert was presented in con- Concert: Master of Indian Flutes APRIL 8-10. 2005 Festival, in recognition of the tenth Shashank junction with the exhibition Caravan St. Petersburg Quartet anniversary of normalization of Kingdoms: Yemen and the Ancient SEPTEMBER 16, 2005 New Sounds for Buddhist Chant FEBRUARY 19, 2005 relations between the United States Incense Trade. Choying Drolma and Steve Tibbets This concert was presented in Sufi Music from Rajasthan and Vietnam. It was organized with APRIL 8. 2005 conjunction with the exhibition Iraq Rangeela the U.S. Department of State, the Sufi Fusion: Niyaz and China: Ceramics, Trade, and SEPTEMBER 18, 2005 Embassy of Vietnam, JULY 14, 2005 Bharata-natyam Master Class and the U.S.- Innovation. Priyadarsini Govind, dancer Vietnam Trade Council. Azam Ali, vocals; Loga Ramin Making Malas APRIL 9. 2005 Torkian, guitar, saz, guitarviol; ImaginAsia Family Program Musicians from Marlboro III Carmen Rizzo, remix SEPTEMBER 17 AND 18, 2005 FEBRUARY 24, 2005 When the Goddess Dances Demonstrations Asia PastFuture: Trio Tarana ImaginAsia Family Program Pacifica Quartet "Inspired by India" weekend festivals, Woodblock Printmaking JULY 21, 2005 Priyadarsini Govind, dancer APRIL celebrating the opening of the new 7, 2005 DECEMBER 4 AND 5, 2004 Ravish Momin, percussion; Jason APRIL 9, 2005 Freer Arts of the Indian This concert was presented with Subcontinent Keiji Shinohara Hwang, violin; Ezra Blumenkranz, ’ud and the Himalayas galleries, were support from Chamber Music Stories of India This demonstration was presented and bass America as part of the Cleveland Surabhi Shah made possible in part by the gener- in conjunction with the exhibition Quartet Award. APRIL 10. 2005 ous support of Margaret and George Dream Worlds: Modern Japanese Cambodian Buddhist Society Musicians and Dancers Haldeman, Doris Weiner and family, Prints and Paintings from the Robert Shanghai Quartet Classical Indian Dance Directed by Chum Ngek Marion and Ashok Deshmukh, Arun 0. Muller Collection. Priyadarsini Govind APRIL 20. 2005 and Rama Deva, Hart and Nancy JULY 28, 2005 APRIL 10. 2005 Fessenden, Ranvir and Adarsh Hands-on Play Zone DAILY MARCH 19-APRIL 17, Trehan, Ashok and Stuti Kaveeshwar, 2005 AND Asian and Asian American Music Inspired by India SATURDAYS. MARCH 12-MAY 14 Bill and Mary Meyer Concert and Kenneth and Joyce Robbins. and Dance JUNE 10-12. 2005 The event was presented in conjunc- Series Kabuki Music and Dance Weekend tion with the exhibition Asian Games: Shanghai Traditional Music Orchestra North Indian Classical Music This APRIL 2 AND 3, 2005 The Art of Contest series has been established in OCTOBER 1, 2004 Ramesh Misra, sarangi; Nitin Mitta, tabla memory of Dr. Eugene Meyer II and This concert was presented in coop- JUNE 10. 2005 Rules of the Game Expert Kabuki Dancer's Dressing Room Mary Adelaide Bradley Meyer. It is Demonstration: eration with the Embassy of China. Hanayagi Shifu, Hanayagi Shinou, and Chess generously supported by the New Creation Stories of India Kawakami Maki MARCH 19, 2005 York Community Trust—The Island Pacific Crossings: Yosuke Yamashita's Meena Arora Nayak APRIL 2. 2005 David Mehler Fund, Elizabeth E. Meyer, Melissa and New York Trio with Guest Kabuki JUNE 11, 2005 This event was presented in conjunc- E. Bradley Meyer, the Musicians Kabuki Music Meyer Concert and Dance Masters tion with the exhibition Asian Games: OCTOBER 15, 2004 Tokiwazu Sanzo, shamisen; Hanayagi Series Endowment, and numerous I Dance My Stories The Art of Contest. Shifu, Hanayagi Shinou, and Kawakami additional This concert was made possible with Nilimma Devi and Anila Kumari donors. Maki, dancers support from the Japan Agency for JUNE 12, 2005 Rules of the Game Expert Music APRIL 2. 2005 of Islamic Spain: The Terra Nova Cultural Demonstration: Affairs in commemoration of Backgammon Consort the sesquicentennial of U.S. -Japan South Indian Classical Music MARCH 26, 2005 Kabuki Kids OCTOBER 7 2004 Geetha Raja, vocals; Radhika Mani, relations. ImaginAsia Family Program Bill Pow This violin; Anoor Dattatreya Sharma, concert was presented in con- Hanayagi Shinou and Kawakami Maki This event was presented in conjunc- mridangam junction with the exhibition Caliphs Strings Across Asia: Traditional Fiddles APRIL 3, 2005 tion with the exhibition Asian Games: from China, JUNE 12, 2005 and Kings: The Art and Influence of Mongolia, and the Arab The Art of Contest. World Islamic Spain, through support from Fly a Kite Festival of Vietnam FEBRUARY 11, 2005 (CONCERT) Arts International, with funding from Rules of the ImaginAsia Family Program JULY 9 AND 10, 2005 Game Expert FEBRUARY 12 AND 13, 2005 (LECTURE- the Doris Duke Foundation Demonstration: Go for JUNE 11 AND 12, 2005 DEMONSTRATIONS) Islamic Art. Vietnamese Music MAY 7, 2005 and Dance Ali Jihad Racy, rababs: Betti Xiang, Haskell JULY 9, 2005 Small and Keith L. Arnold Meetings: Indian Ragas and Medieval erhu: Dmitry Ayurov, morin huur: Performances This event was- presented in conjunc- Song Yang Wei, pipa; Souhail Kaspar, Printmaking Demonstrations tion with the exhibition Asian Games: NOVEMBER 5, 2004 darabukka ; Kermen Kalyaeva, Inspired by India JULY 9 AND 10, 2005 The Art of Contest. Ken Zuckerman, sarod and medieval yoochin SEPTEMBER 16-18, 2005 lute; Dominique Vallard, voice; These concerts were presented in Keyvan Chemirani, zarb; Swapan conjunction with the exhibition Iraq Musical Stories from Rajasthan Folk Arts Rajasthan Chaudhuri, tabla and China: Ceramics, Trade, and Innovation. SEPTEMBER 16 AND 17. 2005 ANNUAL RECORD 13 FS|G 2005 PROGRAMS Kabuki Dancer’s Dressing Room: North Indian Classical Music: Ramesh Films Rattle IRANIAN FILM FESTIVAL 2005 Hanayagi Nitin Hanayagi Shifu, Shinou, and Misra, sarangi; Mitta, tabla (2004, directed by Ed Chen) Cosponsored with the Ilex Foundation. Kawakami Maki JUNE 10, 2005 OCTOBER 10, 1004 KOREAN FILM FESTIVAL, D.C. APRIL 2. 2005 This concert was presented in con- Canary This series was co-presented with This special event was presented in junction with the opening of the new Take the “A” Train (2002, directed by Javad Ardakani National the AFI Silver Theatre, AFI Kennedy conjunction with the Cherry South Asian galleries in the Freer. (2004, directed by Amin Kaderall) Movaqati) Center, the Avalon Theatre, the Festival. Blossom OCTOBER 10. 2004 JANUARY 7 AND 9. 2005 Sculpture South Indian Classical Music: Geetha Hirshhorn Museum and Kabuki Music and Dance Masters: Raja, vocals: Radhika Mani, violin; Anoor Garden, and the National Museum of On Guard Here, A Shining Light Tokiwazu Sanzo, shamisen; Hanayagi Dettatreya Sharma, mridangam Women in the Arts. It was cospon- (2004, directed by Kevin Lee) (2003, directed by Seyyed Reza Shifu, Hanayagi Shinou, and Kawakami JUNE 12. 2005 sored by the Korean Cultural Service, OCTOBER 10, 2004 Mir-Karimi) Maki, dancers This concert was presented in con- Washington, D.C.; the Korean Film JANUARY 14 AND 16, 2005 APRIL 2, 2005 junction with the opening of the new Council; the Korean Film Archive; Doki-Doki This program was presented in South Asian galleries in the Freer. and the Korea Foundation, U.S.A. (2004. directed by Chris Eska) Mama's Guest conjunction with the National Cherry (Continued from September 2004) OCTOBER 10. 2004 (2004, directed by Dariush Mehrjui) Blossom Festival. National Folkloric Dance Ensemble of JANUARY 21 AND 23, 2005 Yemen A Hometown in Heart Daughters of Everest Chant: New Sounds for Buddhist JUNE 23. 2005 directed by Yoon Yong-kyu) (2004, directed by Sapana Sakya and 20 Fingers Choying Drolma and Steve Tibbets (1948, This performance was presented in OCTOBER 3, 2004 Ramyata Limbu) (2004, directed by Mania Akbari) APRIL 8, 2005 conjunction with Caravan Kingdoms: OCTOBER 10, 2004 JANUARY 28 AND 30, 2005 This concert was presented -in con- Yemen and the Ancient Incense Aimless Bullet junction with the opening of the new Trade and in cooperation with the (1961, directed by Yoo Flyun-mok) Indian Cowboy The Unfinished Story South Asian galleries in the Freer. Tourism, Minister of Culture and OCTOBER 8, 2004 (2004, directed by Nikhil Kamkolkar) (2004, directed by Flassan Republic of Yemen. OCTOBER 10, 2004 Yektapanah) Bharata-natyam Master Class: The Housemaid Priyadarsini Govind, dancer FEBRUARY 4 AND 6, 2005 Vietnamese Music and Dance (1961, directed by Kim'Ki-young) The Ride APRIL 9. 2005' JULY 9, 2005 OCTOBER 17, 2004 (2003, directed by Nathan Kurosawa) This program was presented in con- SAM FULLER'S ASIA This performance was presented as OCTOBER 16, 2004 junction with the opening of the new A Good Windy Day part of the Vietnam Festival, in The Crimson Kimono South Asian galleries in the Freer. recognition of the tenth anniversary (1980, directed by Lee Jang-ho) The Magical Life of Long Tack Sam (1959, directed by Samuel Fuller) of normalization of relations between OCTOBER 22, 2004 (2003, directed by Ann Marie Classical Indian Dance: Priyadarsini FEBRUARY 18, 2005 Govind the United States and Vietnam. Fleming) To the Starry Island 2004 APRIL 10, 2005 Organized with the U.S. Department OCTOBER 16, The Steel Helmet (1993, directed by Park Kwang-su) This program was presented in con- of State, the Embassy of Vietnam, (1951, directed by Samuel Fuller) OCTOBER 24, 2004 junction with the opening of the new and the U.S.-Vietnam Trade Council. DISCOVERIES 2004 FEBRUARY 25. 2005 South Asian galleries in the Freer. Festival Life of a Yemenite Woman: Fixed Bayonets A Day in the Springtime in a Small Town directed by Im Kwon-taek), Barefoot Dance Company and Shoshana (1996, directed Samuel Fuller) Kazue Sawai and the Sawai Koto (2002, directed by Tian (1951. by Tubi, vocalist Ensemble 2005 U.S. Tour OCTOBER 29. 2004 Zhuangzhuang) FEBRUARY 27, 2005 2005 APRIL 23—ASIAN ARTS AND CULTURE AUGUST 28, NOVEMBER 14, 2004 program was presented in con- Green Fish CENTER, TOWSON UNIVERSITY, TOWSON, This RUMORS OF WARS: junction with Caravan Kingdoms: (1997, directed by Lee Chang-dong) WARS AND MD. Nine Souls IRAQ ON FILM Yemen and the Ancient Incense OCTOBER 31, 2004 APRIL 24— FREER GALLERY OF ART (2003, directed by Toshiaki Toyoda) These films were presented in con- Trade. APRIL 28-UNIVERSITY OF THE SOUTH, NOVEMBER 19. 2004 junction with the Sackler exhibition SEWANEE, TENN. D.C, ASIAN PACIFIC AMERICAN Master of Indian Flutes: Shashank Iraq and China APRIL 30—ASIA SOCIETY, NEW YORK. N.Y. FILM FESTIVAL Millennium Mambo SEPTEMBER 16. 2005 presented jointly (2001, directed by Flou Flsiao-hsien) This film series was Zaman, The Man from the Reeds This concert was presented in con- the Freer Gallery of Art and the NOVEMBER 21. 2004 This series was produced by the at (2003, directed by Amer Alwan) junction with the opening of the new Sackler Galleries in collab- Flirshhorn Museum and Sculpture Freer and MARCH 11, 2005 South Asian galleries at the Freer. Pond Garden and cosponsored with the Scent of the Lotus oration with the University of the Presented in association with the directed by Satyajit Maitipe) Smithsonian Program for Asian (2004, South, The Asian Arts and Culture Sufi Music from Rajasthan: Rangeela DC Environmental Film Festival DECEMBER 5 AND 12, 2004 Pacific American Studies. Center at Towson University, The SEPTEMBER 18, 2005 Fly Asia Society, and the Sawai Koto This concert was presented in coop- Turtles Can Cellphone Slowly Silently Academy, New York. Major support eration with Folk Arts Rajasthan, and (2004, directed by Bahman Ghobadi) (2003, directed by Feng Xiaogang) (2003, directed by Jinoh Park) 2005 provided by the Japan Foundation in conjunction with the opening of MARCH 18, DECEMBER 10, 2004 OCTOBER 10. 2004 t through the Performing Arts Japan the new South Asian galleries in the About Baghdad Program. Freer. Diagnosis Anaahat (2004, directed by InCounter (2004, directed by Georgie Lee) (2003, directed by Amol Palekar) Productions) OCTOBER 10. 2004 DECEMBER 19. 2004 MARCH 20. 2005 Guests: InCounter Productions ANNUAL RECORD 14 FS|G 2004 PROGRAMS THIRD ANNUAL CHERRY BLOSSOM The Terrorizes Come Drink with Me Lectures and Symposia The Plate Is Already Broken: 15th- ANIME MARATHON (1986) MAY 13, 2005 (1966, directed by King Hu) to 17th-century Persian Ceramics This program was cosponsored AUGUST 5 AND 7. 2005 GALLERY TALKS BY MEMBERS Massumeh Farhad and by Otakorp, Inc., and the Japan A Confucian Confusion Security Unlimited OF THE STAFF Blythe McCarthy Information and Cultural Center, MAY 15. 2005 (1994) (1981, directed by Michael Hui) SEPTEMBER 17, 2005 Work and Commerce: Everyday Embassy of Japan. It was presented AUGUST 12 AND 14, 2005 Life in Chinese Painting Mahjong In conjunction with the National Guest Lectures OCTOBER 12, 2004 Cherry Blossom Festival. Guests: (1996) MAY 20, 2005 Iron Monkey Stephen Allee Gilles Poitras, author of Anime (1993, directed by Yuen Wo-ping) Jewish Art and Artists of Medieval Spain Yi Yi (A One and a Two) Essentials and The AUGUST 13, 2005 OCTOBER 13. 2004 Anime Companion', Dream Worlds: Modem Japanese (2000) MAY 22, 2005 Steve Bennett, anime Illustrator. Prints and Paintings from the Robert Vivian Mann PANEL DISCUSSION 0. Muller Collection Made possible by funding from Tokyo Godfathers Hong Kong Cinema: Looking Ahead, FIRST NATIONS/FIRST FILMS: NOVEMBER 9. DECEMBER 9. AND the Sylvia and Alexander Hassan Looking Back, (2003, directed by Satoshi Kon) A Showcase of World Indigenous DECEMBER 11. 2004 Foundation AUGUST 13. 2005 APRIL 2, 2005 Film and Media This event was James T. Ulak Guests: David Chute, film critic for Ming-dynasty Porcelain: Achievements cosponsored by the National Los Angeles Times, Film Ghost in the Shell 2: Innocence Comment, Young Whistler: Early Prints and Disasters at Jingdezhan Museum of the American Indian. Premiere, and the LA Weekly Philip 2004 directed ; and the French Set OCTOBER 14, ( , by Mamoru' Oshii) 2004 Lee, Hong Kong film producer and DECEMBER 14, 2004 APRIL 2. 2005 Mauri Rose Kerr Visiting Professor at the Taipei Kenneth Myers John A. Pope Memorial Lecture (1990, directed by Merata Mita) Tree of Palme National University of the Arts: and MAY 19, 2005 (2001, directed by Takashi Nakamura) Jeff Yang, author of the books Luxury and Luminosity: Visual Reviving Silk Textile Traditions Guest: Merata Mita, director. Culture and the Ming Court in Cambodia APRIL 2, 2005 Once Upon a Time in China: A Guide JANUARY 11, 2005 to the Cinemas of Hong Kong, NOVEMBER 1, 2004 BOLLYWOOD NOIR: Appleseed Jan Stuart Kikuo Morimoto THE FILMS OF GURU DUTT Mainland China and Taiwan, and (2004, directed by Shinji Aramaki) Eastern Standard Time: A Guide to Arts of the Indian Subcontinent The APRIL 2, 2005 Discriminating Eye: Robert Mr. and Mrs. 55 Asian Influence on American Culture and the Himalayas 0. Muller’s Remarkable Collection JUNE 5. 2005 (1955) from Astro Boy to Zen Buddhism. FEBRUARY 8 AND MAY 17, 2005 DECEMBER 4, 2004 FILMS ON GAMES/GAMES ON FILM: FOUR FROM JAPAN Debra Diamond Joan Mirviss Eternal Thirst Police Story These films were presented in con- (1957) JUNE 17, 2005 (1985, directed by Jackie Chan) Cai Guo-Qiang: Traveler Painting History for the Mughal Emperor junction with the Sackler exhibition AUGUST 19 AND 21. 2005 MARCH 8, 2005 DECEMBER 15, 2004 Asian Games: The Art of the Contest. Full Moon Debra Diamond Susan Strange (1960) JUNE 19. 2005 The Killer Pale Flower The Benjamin Zucker Lecture (1989. directed by John Woo) Asian Games: The Art of Contest on Mughal Art ( 1964 , directed by Masahiro Shinoda) Paper Flowers AUGUST 26 AND 28, 2005 MARCH 22, 2005 APRIL 15, 2005 (1959) JUNE 24, 2005 Ann C. Gunter Metalwork in Iraq and Early KOREAN FILM FESTIVAL D.C. 2005 Islamic Times Tokyo Olympiad King, Queen, and Knave This film festival was presented Games, Contests, and Artful Play 1965 MARCH 17 2005 ( , directed by Kon Ichikawa) (1962) JUNE 26, 2005 in association with the AFI Silver in Japan James Allan APRIL 17, 2005 Theatre and Cultural Center. It was APRIL 5, 2005 10TH ANNUAL MADE IN cosponsored by the Korean Film Ann Yonemura Ping Pong HONG KONG FILM FESTIVAL Women in the Shahnama: Exotics Council: the Ministry of Culture and and Natives, Rebellious Legends, (2003, directed by Fumihiko Masuri) This film festival was cosponsored and Dutiful Tourism, Seoul: and the Korean Iraq and China: Ceramics, Trade, Histories APRIL 22, 2005 by the Hong Kong Economic and and Innovation MARCH 31 Cultural Service, Washington, D.C. Trade Office. APRIL 12, 2005 Richard Davis Winter Days (Completed October 2005) Massumeh Farhad (2003, directed by various directors) Throw Down Arahan Panel Discussion: East Asian APRIL 29. 2005 (2004, directed by To) Johnnie Chinese Ceramics and the Islamic Consequences of the Iraq War 2004 World ( , directed by Ryu Seung-won) JULY 8 AND 10, 2005 JUNE 7. 2005 FEBRUARY 2, 2005 SEPTEMBER 9, 2005 TAIPEI STORIES: Jan Stuart and Massumeh Farhad Kurt Campbell Kung Fu Hustle THE FILMS OF EDWARD YANG Spying Cam Presented in cooperation with the (2004, directed by Stephen Chow) Behind the Glazes This series was cosponsored by the 2004 Asia Society Washington Center ( , directed by Whang JULY 15 AND 17, 2005 JUNE 14. 2005 Taipei Economic and Cultural Repre- Cheol-mean) Ellen Chase and sentative Office, Washington: Biythe McCarthy Symposia and the DragonBlade SEPTEMBER 11, 2005 Government Information Office, Taipei. (2005, directed by Antony Szeto) JULY Vietnamese Ceramics from the A Tale of Two Sisters Third Forbes Symposium: Studies 22 AND Taipei Story 24. 2005 Red River Delta (2003, directed by Kim Jee-woon) of the Sculptural Arts of Asia Using JULY 12, 2005 (1985) MAY 6. 2005 Love Eterne SEPTEMBER 23. 2005 Scientific Methods, Louise Cort (1962, directed by Han Hsiang-li) SEPTEMBER 30-0CT0BER 1, 2005 A Brighter Summer Day Someone JULY 29 AND 31. 2005 Special Meyer Auditorium, Freer Gallery of Art (1991) MAY 2005 8, 2004 ( , directed by Jang Jin) SEPTEMBER 25, 2005 PROGRAMS Gallery Shop Programs Lectures by Members of the Staff With a reputation for outstanding selection and excellent customer service, the Gallery Shops continued to Lectures by Members of the Staff . “Wonder and Resonance: live up to its tradition as the Best Smithsonian Shop (Washington Post). As in past years, the Shops main- Exhibiting Indian Art 'at the Freer Chang, Joseph, “C.C. Wang as tained a strong presence both on and off the Mall, participating in a number of off-site sales events and and Sackler Galleries." Montgomery Collector and Connoisseur." Annual operating several exhibition-related in-house satellite shops. College Smithsonian Seminar, meeting of the Association for Asian Smithsonian Institution, Washington, E-commerce continued to grow, as more items, especially books, were added to the Shop's website. Shop- Studies, Chicago, III. DC. APRIL 1, 2005 sponsored author events once again flourished this year. As in the past couple of years, the Shops contin- APRIL 14, 2005 ued to assist a retail operation in India, while maintaining its participation in a World Bank-sponsored proj- . "The Evolution of Dong . “Re-Orient: Text, Image, ect to improve the economic situation of Indian craftspeople. Qichang's Landscape Painting," and Sub-text in Postcolonial Art: Symposium on Dong Qichang's THE GALLERY SHOPS SPONSORED THE FOLLOWING EVENTS DURING FISCAL YEAR 2005 Rajkamal Kahlon." Co-moderator Calligraphy and Painting, Macao of a panel: Provisions Library, Museum of Art, Macao. Washington, DC. the Author Asian Book Club SEPTEMBER 3, 2005 Meet SEPTEMBER 21. 2005 Chase, Ellen. “Polymers: Sticking Snow Volunteer Tex Vathing continued to , “Art as a Bridge Across Together." Organizer and chair for Orhan Pamuk lead this monthly group in its lively Borders." Co-moderator of a panel: Research and Technical Studies OCTOBER 6. 2004 discussions of Asian-related fiction Chairman Lahore Museum, "Building Specialty Group session, American featured in the Shops. Bridges in Collaboration with Asia At Hell's Gate: A Soldier's Journey Institute for Conservation, Annual Society," CSIS, Elliot School of from War to Peace Meeting, Minneapolis, Minn, Off-site Sales Events International Affairs, Freer and Claude Anshin Thomas 2005 JUNE 12, Sackler Galleries. OCTOBER 28, 2004 (The Forbes Fund sponsored a Strathmore Arts Center in Rockville, Md. SEPTEMBER 29. 2005 NOVEMBER 11-14, 2004 portion of the costs for this session.) Exiled: Memoirs of a Camel Douglas, Janet G. "Use of Kathleen Karr Cort, Louise Allison. “Walking Away McLean Community Center in McLean, Petrographic Methods to Aid DECEMBER 2. 2004 Japan's Avant- Va. from Usable Clay: Provenance Studies of Khmer in the 1950S.” NOVEMBER 26-28, 2004 garde Ceramists Stone Sculpture.” Southeast Asian Adventures with the Buddha Japanese Ceramics: Cultural Roots Sculpture Seminar, Los Angeles Jeffery Paine Cherry Blossom Festival Expressions. and Contemporary County Museum of Art, Los Angeles, DECEMBER 16. 2004 APRIL 9, 2005 sponsored by Ceramics Symposium Calif Program, Office for the Arts at DECEMBER 4, 2004 Beginner’s Guide to Changing the World On-site Satellite Shops Harvard, Harvard University, Isabel Losada Chinese Cambridge, Mass. . "Recent Research on JUNE 27, 2005 Trunk Show featuring traditional hand- NOVEMBER 6, 2004 Jades in the Freer Gallery of Art and made silk textiles from the Institute for the Arthur M. Sackler Gallery." Khmer Traditional Textiles Debra. “Yoga Politics Diamond, and Department of Cultural Heritage NOVEMBER 1-3, 2004 in Jodhpur.” The Kri Foundation Preservation, Northwest University, inaugural lecture in the Setu, Trunk Show featuring contemporary Xi'an, China. Building Bridges Series, Habitat handmade textiles from Laos and MARCH 20, 2005 Cambodia Center, New Delhi. SEPTEMBER 21-25, 2005 DECEMBER 22. 2004 and S. S. Sorensen. "Mineralogical Characteristics of Indian Galleries at . “The New Khmer Stone Sculpture in the Bayon National of Asian Art." Attic Sale the Museum Style." Third Forbes Symposium on All-India Radio, DECEMBER 8-13. 2004 Radio interview, Scientific Research on the Sculptural- Delhi, national broadcast from Arts of Asia, Freer Gallery of Art, National Folklife Festival DECEMBER, 21, 2004 Washington, DC. JUNE 23-JULY 5, 2005 SEPTEMBER 30, 2005 Artworld: . “Home and the Lecturer Summer Clearance Sale South Asian' Art Today.” Farhad, Massumeh. “Idols and 29 of an artist panel: JUNE -JULY 5, 2005 and moderator Images' in the Islamic World or Asia in Home and the World: South Palace and Mosque: Attitudes Asia in Translation, Transition/South towards Figural Representation." University, N.J. Rutgers Symposium in conjunction with the MARCH 26, 2005 opening of Palace and Mosque, Islamic Art from the Victoria and Albert Museum at the Kimbell Art Museum, Fort Worth, Tex. APRIL 2. 2005 ANNUAL RECORD 16 FS | G 2005 PROGRAMS . "The Falnama (Book of . “Introduction to the Freer Research Programs M. Sackler collections: and stone research on Chinese Buddhist Divination) in the Safavid and and Sackler Gallery and Collecting characterization of Khmer sculpture sculpture (reinstallation of the Freer’s ONGOING STAFF RESEARCH PROJECTS Ottoman Worlds." An international Asian Art." Smithsonian Journeys dating to the Angkor Period in the collection), and participation in a symposium in honor of Dr. Filiz lecture series, Freer Gallery, Bayon style. multi-museum-and-university project Allee, Stephen D. Continuing Cagman, Topkapi Palace Museum, Washington, D.C. devoted to the Buddhist site of research, translation, and documen- Farhad, Massumeh. Continuing Istanbul. APRIL 15, 2005. Xiangtangshan: investigation into tation for comprehensive catalogue FEBRUARY 5-10, research on the exhibition and 2005 methods of and taste in displaying of Chinese painting and calligraphy . “Ming Dynasty Imperial accompanying catalogue for Falnama art objects in late imperial China. from the Song through Gunter, Ann C. "Issues in Hittite Porcelain and Its Relationship to Yuan dynas- (Book of Divination) and the Freer's Material ties (9TH-14TH century) in the collec- Culture as Viewed from the Other Imperial Arts." Presented at permanent collection of arts of the Winter, John. Study of East Asian tion of the Freer Gallery of Art (with Empire’s Frontiers." Invited paper, the Chinese Society for Ancient book from the Islamic world for a paintings using scientific methods, Joseph Chang and Ingrid Larsen). workshop: “Structure and Dating of Ceramics international symposium, forthcoming catalogue. funded by the Andrew W. Mellon Hittite Material Culture," German Jingdezhen, Jiangxi Province, China Foundation: materials in Song and Chang, Joseph. Continuing research Archaeological Institute. Istanbul. Gunter, Ann C. Research on Late OCTOBER 25, 2004. Yuan period paintings in the Freer on Song and Yuan painting: research NOVEMBER 26-27. Bronze and Early Iron Age ceramics 2004 Gallery of Art (with Jeffrey C. on Beyond Brushwork for Winter, John. “Postdoctoral and a pos- from Kinet HoyQk, Turkey: research Joseph): research on organic col- Hare, Andrew. sible exhibition on Zhou Chen and "Conservation of Fellowships: The Research on ancient Iranian ceramics in the orants in East Asian paintings (with East Asian Paintings.” Tang Yin (in collaboration with Ann D.Ci Arts Dimension." Conservation Science Arthur M. Sackler Gallery, in collabo- Christina Cole). Clapp), and another Table, Freer and Sackler Galleries, in the U.S.A., Andrew W. Mellon possible exhibi- ration with Blythe McCarthy and Washington, DC. Foundation, tion from Hunan Provincial Museum New York, N.Y., Ellen Chase. Yonemura, Ann. Research of paint- OCTOBER 5, 2004 related to Sackler Foundation's Ch'u FEBRUARY 3, 2005. ings, drawings, prints, and printed Silk Manuscript (MLS2028). Jett, Paul. Ancient metalworking books by Katsushika Hokusai for an . “The Aesthetics of Context .“Surface Decoration on technology in China and West Asia, exhibition and book: research of within the Japanese Scroll Chase, Ellen. Conservation and tech- Mounting the Limestone Sculptures from with an emphasis on gold and gilding. Charles Lang Freer's collection of Tradition." M. Victor Leventritt Qingzhou, Shandong Province, nical study of Asian ceramics, includ- paintings and drawings by Hokusai Symposium: The Art of Japanese China." Third Forbes Symposium on ing the structure of ancient Iranian Joseph, Jeffrey C. Study of East (exhibition essay for Tokyo National Calligraphy, for the exhibition Marks Scientific Research on the Sculptural ceramics using xeroradiography: and Asian paintings using scientific meth- Museum and Freer and Sackler): of Enlightenment Traces of Devotion: Arts of Asia, Freer Gallery of Art. development of methods to define ods, in particular a survey of the research of the history of the Freer Japanese Calligraphy and Painting Washington, D.C. areas of overpaint on iron oxide materials used in Song and Yuan and Sackler Japanese art collection period in from the Sylvan Barnet and William OCTOBER 1. 2005. painted ceramics. paintings the Freer Gallery (article and report): research of the Burto Collection, Harvard University, (with John Winter). Cole, Christina. Study of East Asian early history of the Arthur M. Sackler Cambridge, Mass. Yonemura, Ann. "Japan After Perry: Views of Yokohama and Meiji Japan." paintings using scientific methods, in McCarthy, Blythe. Scientific study of Gallery (article). FEBRUARY 12, 2005 Japanese American National particular the identification of organic cobalt blue decoration on early Fellows colorants in Islamic Research Projects . "The Care and Handling of Museum, Los Angeles, Calif. paintings, using HPLC, ceramics: structure of East Asian Paintings.” Library of APRIL 10, 2005. GC-MS, reflectance spectroscopy ancient Iranian ceramics using Cheng, Wen-Chien. Smithsonian Congress, Washington, DC. and other methods (with John xeroradiography: development of Postdoctoral HART Fellow. “Ideas MARCH 8, 2005 Winter). methods to define areas of overpaint Beyond Indulgence: Images of on iron oxide painted ceramics: and Drunkenness from Jett, Paul. "Technical Study and Cort, Louise Allison. Research on Imperial China." comparative XRF analysis of Chinese Elemental Analysis of Chinese Gold ceramics in mainland Southeast and Vietnamese whitewares. Gillette, Maris. Smithsonian from the Late Eastern Zhou Period." Asia, based on field research and the Postdoctoral HART Fellow. “Historical Third Forbes Symposium on Hauge Collection, Arthur M. Sackler Orologas, Claire. Ongoing research Legacies and Artistic Expressions in Scientific Research on the Sculptural Gallery: research on ceramics in on the Photographic Gift Albums of Chinese Porcelain." Arts of Asia, Freer Gallery of Art, southern Japan and ceramics in Abdulhamid II to the United States in Washington, D.C. Kyoto as a center of ceramic produc- 1893: study of museum learning and Matsumura, Makiko. Smithsonian SEPTEMBER 30, 2005. tion, use, and distribution (two organizational culture. proj- Short-term Visitor Program Scholar. ects based on the Freer Gallery of “Satsuma Ceramics in the Freer McCarthy, Blythe. "The Work of a Smith, Martha. Survey of the prints Art collection). Collection." Museum Conservation Scientist." and drawings by James McNeill American Association of University Diamond, Debra. Continuing Whistler in the Freer Gallery of Art: Thiriez, Regine. Smithsonian Short- Women: Math, Science, and research on Asian study of the characteristics contemporary art of term Visitor Program Scholar. Technology_Career for and completing Islamic Day Middle a book on Jodphur paper. “Understanding Photographic School Girls, painting. Portraiture in Late Imperial China.” Stuart, Jan. Continuing research APRIL 2, 2005 on Douglas, Janet G. Study of materials Ming dynasty imperial arts, including Stuart, Jan. "Chinese Jades: Small and manufacturing techniques of blue-and-white porcelain (publica- Stone Sculptures." St. John’s College, Chinese jade and stone from the tion): research on Qing dynasty, Annapolis. Md. Xi’an area of China: technical study Yongzheng-period arts (publication SEPTEMBER 21, 2005 of Western Zhou jades in the Arthur and possible future exhibition): ANNUAL RECORD 17 FS G 2005 | , SERVICES Publications Over the past fiscal year the publications department produced Carvan Kingdoms: Yemen and the Ancient Incense . “A Review on Some Recent "Curator's Bookshelf." An Trade. The department also edited text for Asiatica magazine, the museum's annual record, numerous gallery exhibi- Research on Early Chinese Jades." annotated bibliography of Chinese tions and brochures, educational guides, and assorted ephemera, including invitation's, a quarterly calendar, programs Scientific Examination of Art: Modern books, in Museums Magazine for the Bill and Mary Meyer Concert series, and projects for the shops. The publications department continued to Techniques in Conservation and (January 2005 ). operate throughout much of the year using freelance editors. Reid Hoffman, previously a designer for the Getty Analysis, from the Arthur M. Sackler Center in Los Angeles, came to the Freer and Sackler as art director, and he will oversee the graphic look of all Colloquia of the National Academy of . “A Gift of Chinese Furniture museum publications. This year, the department won accolades for projects including books, posters, exhibition Sciences. 206-14. Washington D.C.: to the Arthur M. Sackler Gallery," design, and marketing materials from the American Association of Museums, the Art Director's Club of Washington, The National Academies Press, 2005. Orientations 35. no. 8 (November and the AIGA (American Institute of Graphic Arts). 2004), 43-66. Farhad, Massumeh. Review of Peerless Images: Persian Painting and Swider, J. R., and Martha Smith. Its Sources by Eleanor Sims, with “Funori, Overview of a 300-year-old Boris Marshak and Ernst Grube. Ars Consolidant." Journal of American Publications Scholarly Publications Museum Orientalis 33 (2003): 205-07. Institute for Conservation 44, no. 2 (Summer 2005): 117-126. The first volume of the newly revived Jett, Paul, John Winter, and Blythe Giaccai, Jennifer, and John Winter. Freer Gallery of Art Occasional Papers McCarthy, eds. Scientific Research “Chinese Painting Colors: History and Winter, John. “The State of the Field: Pictorial Arts of Asia. new series, Pigments in Later on the Reality.” In Scientific Research on the Overview." Scientific Examination Forbes Japanese Paintings, by Elisabeth Proceedings of the Second Pictorial Arts of Asia. Proceedings of of Art: Modern Techniques in Fitzhugh, John Winter, and Marco Symposium at the Freer Gallery of the Second Forbes Symposium at the Conservation and Analysis, from the Publications Leona, was published in spring 2005. Art. London: Archetype Freer Gallery of Art, edited by Paul Arthur M. Sackler Colloquia of the Washington, D.C.: Freer Gallery A second title, The Look of the Book: and Jett, John Winter, and Blythe National Academy of Sciences, 3-11. Manuscript Production in the of Art, 2005. McCarthy, 99-108. Washington, D.C.: Washington, D.C.: The National Southern Iranian City of Shiraz from Archetype Publications and Freer Academies Press, 2005. the Early 14th Century to 1452. by Gunter, Ann C, ed. Caravan Gallery of Art, 2005. Elaine Wright, is planned for publica- Kingdoms: Yemen and the Ancient Yueh Lien-Chien, Paul Jett, and Yang Trade. Washington, D.C.: tion in 2006. Incense Gunter, Ann C. “Chess and Its Visual Chun-Chang. “An Experimental Sackler Gallery, 2005. Arthur M. Culture in West, South, and Southeast Analysis of the Bronze Fu Excavated The appointment of a full-time man- Asia." In Asian Games: The Art of from a Han Tomb by the Shanxi Publications by aging editor for scholarly publications Contest, edited by Colin Mackenzie Chiao-Tung School.” Bulletin of the Members of the Staff in September 2004 significantly and Irving Finkel, 136-67. New York: National Museum of History. 15, no. 5 enhanced the scholarly publications Asia Society, 2004. (May 2005): 68-71. Louise Allison. "Crawling program. Accomplishments to date Cort, through Mud: Avant-garde Ceramics include development of a new sub- Yonemura, Ann. Boomtown: . Ernst Herzfeld and the in Postwar Japan." Studio Potter 33, scriber database for Ars Orientalis Development of Near Eastern Studies, Foreigners in Treaty-Port Japan no. l (December 2004): 28-41 and much-needed clarification of the 1900-1950. Co-edited with Stefan R. (1859-1872) by John W. Dower, unit 2 journal's financial situation. Progress Hauser. Leiden: E. J. Brill, 2005. of Visualizing Japan, MIT Visualizing Hirano-sensei" . “Remembering was also made toward publication of Cultures, in cooperation with the In Special Exhibition: With Shigaraki three volumes of the journal. During Leona, Marco, and John Winter. Arthur M. Sackler Gallery. Web Ceramics— Kanroku-gama Kiln and this year, Ars Orientalis 33 (2003) “The Identification of Indigo and Publication 2005. Content adapted - Yuto-jin, 11 16 . Shigaraki, Japan: was mailed to subscribers, the papers Prussian Blue on Japanese Edo- from Ann Yonemura, Yokohama: Shigaraki Ceramic Cultural Park, 2004. for volume 34 (2004) were edited, period Paintings." In Studies Using Prints from Nineteenth-century Japan. (In Japanese) and the contents of volume 35 (2005) Scientific Methods: Pigments in Later Arthur M. Sackler Gallery, were determined. Japanese Paintings. Freer Gallery of Smithsonian Institution, 1990. . “Visiting Pottery Towns in Art Occasional Papers New Series 1 Japan." Kateigaho International, no. 5 (2003): 53-81. (Winter 2005): 161 . Stuart, Jan. “The Face in Life and Douglas, Janet G. “Stone Materials Death: Mimesis and Chinese Ancestor Used in Khmer Sculpture from the Portraits." In Body and Face in " National Museum of Cambodia. Chinese Visual Culture, edited by UDAYA: Journal of Khmer Studies 5 Wu Hung and Katherine R. Tsiang, (2004): 1-18. 197-228. Cambridge, Mass.: Harvard University, 2005. ANNUAL RECORD 18 FS|G 2005 G SERVICES Library Services Archives Library Services Purchases Archives and Slide Library The library acquired a total of 3137 The library purchased a limited fac- This fiscal year, efforts to expand Research and usage for the 2005 volumes (excluding journal issues) simile edition (216/2000) of Hariri. access and outreach have brought fiscal year broadened the under- between October 2004 and Al-Maqamat al-Haririyah. This most higher visibility to and usage of the standing of the archives' holdings. September 2005. Of the total, celebrated and unique Arabic manu- collections. In particular, archives Two notebooks and a watercolor 2570 volumes were purchased and script, currently in the Bibliothbque staff continued to develop accessible from the Ernst Herzfeld Papers were 567 were acquired through the nationale in Paris (MS. arabe 5847), digital image collections, catalogue included in the exhibition This Fertile gift/exchange program. As an official was completed by al-Wasiti, probably records, and finding aids. Queries Land: Signs & Symbols in Early Arts U.S. depository, the library also in Baghdad, in 1237. This facsimile and reference visits continued to rise of Iran and Its Neighbors at the received 161 exhibition catalogues publication makes the manuscript steadily during the year, with an Kelsey Museum at the University of from Japan through Japan Art available for study and should foster increase of twenty-six percent over Michigan, February 4 through Catalogue Project. the first steps towards a critical eval- the previous year. September 30, 2005. Dr. Willa uation of this Arabic manuscript. Silverman, of the department of SIGNIFICANT ACQUISITIONS The archives' online finding aid to French and Jewish Studies at Penn The library completed its purchase the photographs of Antoin Sevruguin State University, is pursuing publica- Donations of an eighty-two-volume set of now features images. Researchers tion of the diaries in the Henri Vever "Kindai Nihon Ato Katarogu on the Web can access this impor- Papers (1854-1942). Her interest lies The library received a donation by Korekushon" (Art Catalogue tant collection of nineteenth-century in the historical record the diaries Ralph Redford of almost two hun- Collection of Modern Age Japan), views of Iran (http://www.asia.si. provide for daily and private life in dred books from his and his wife's 2001-05. This continuing multi- edu/archives/finding_aids/ turn-of-the-century France. In June, personal library. The books are on volume monographic publication sevruguin. html/). Following a major Dr. Regine Thiriez, a Smithsonian Nepal, India, Japan, Turkey, and reproduces Japanese art exhibition reformatting project, the finding aid Institution short-term visitor many other areas of Asia and the catalogues from the late nineteenth for the papers of Ernst Herzfeld researching manifestations of portrait Middle East and represent a wel- and early twentieth century, including (1879-1948) is available in electronic photography in late imperial China, come addition to our library's the exhibition records of twenty-six format (http://www.asia.si.edu/visi- made use of the Cixi, Empress research collection. major Japanese art associations. tor/archives/finding_aids/Herzfeld). Dowager of China, Photographs This title is an excellent companion Additionally, new SIRIS (http:// and the Benjamin March Papers. On behalf of the Harwood family, to other library holdings, such as the www.siris.si.edu) catalogue records Dr. David Odo, of Harvard University, Joan Hazelton donated an important exhibition catalogues of national art were made for the following collec- is presently studying the Henry and publication about the Baysonghori associations and the Japan Art tions: Robert 0. Muller Papers: Nancy Rosin Collection of Early manuscript, An album of miniatures Project, covering contemporary art Ambassador Richard B. Parker Japanese Photography for his re- and illuminations from the exhibition catalogues. (This purchase Photographs of Islamic Monuments, examination of early photographic Baysonghori manuscript of the was made possible by the Weedon 1965-79; and Hans C. and Sonia P. practice and its role in the creation Shahnameh of Ferdowsi, completed Foundation.) Seherr-Thoss Photographs of Islamic of Japan as a modern nation state. in 833 A.H./A.D. 1430. and preserved Architecture, circa 1960-8. in the Imperial Library, Tehran. The rare book was published in 1971 in Tehran by the Central Council of the Celebration of the 2500th anniver- sary of the founding of the Persian Empire by Cyrus the Great, in collab- oration with Franklin Book Programs. Raymond Harwood, then president and CEO of Harper and Row, received a copy of the book in thanks for his role in bringing it to publication. Rather than selling the book, his family opted to bestow it to the Smithsonian. ANNUAL RECORD 19 FS | 2005 BOARD, STAFF, INTERNS, VOLUNTEERS, AND DOCENTS Board Staff (AS OF SEPTEMBER 30, 2005) (AS OF SEPTEMBER 30. 2005) George Rogers, art handling OFFICE OF EXTERNAL AFFAIRS OFFICE OF FINANCE AND ADMINISTRATION OFFICE OF THE DIRECTOR SPECIALIST Katie Ziglar, head Savini, assistant director Mr, Jeffrey P, Cunard, chair Julian Raby, director Rebecca Gregson, associate Domenic Office of Membership and Development Mrs. Mary Patricia Wilkie Ebrahimi, RoseMaria Plenry, secretary registrar for exhibitions Finance Stephanie Myers, special events VICE-CHAIR TO THE DIRECTOR Patricia Adams, financial specialist Imaging and Photographic Services ASSISTANT Mr Paul Marks, secretary Kelly Swain, museum specialist Andrea Christianson, accounting John Tsantes, head Caroline Bedinger, special events Mrs. Sunandini (Nunda) P. Howard Kaplan, museum writer TECHNICIAN Ambegaonkar Leland "Michael" Bryant, COORDINATOR PHOTOGRAPHER Sharron Greene, accounting Ms. Susan Beningson Strategy and Policy Implementation Alison Cassels, special events TECHNICIAN Neil Greentree, photographer Dr. Catherine Glynn Benkaim Marjan Adib, head COORDINATOR Violeta Forte, accounting technician Robert Harrell, photographer associate Mr. Richard M. Danziger Laverne Gist, development OFFICE OF THE DEPUTY DIRECTOR Mia Vollkommer, digital imaging Jessica Hammond, membership Dr. Robert S. Feinberg Personnel James Ulak, deputy director specialist coordinator Mr. Michael E. Feng Michele James, administrative Louise Caldi, administrative Cory Grace, digital assistant Rebecca Corley, membership Mrs. Hart Fessenden SUPPORT SPECIALIST assistant COORDINATOR Mr. Martin J. G. Glynn Archives Kazuharu Ishida, marketing Mr. Farhad Flakimzadeh Main Reception Area Curatorial Linda Raditz, archivist DEVELOPMENT SPECIALIST Ms. Shirley Z. Johnson Pala Davis, receptionist Louise Cort, curator for ceramics Mr Hassan Khosrowshahi Ann Yonemura, senior associate Slide Library Public Affairs and Marketing Mrs. Ann R. Kinney Gallery Shops David Hogge, head James Gordon, head CURATOR FOR JAPANESE ART Bernstein, Mrs. Constance C. Miller Martin head Rebecca Fahy, public affairs Tsenti "Joseph" Chang, associate Peter Musolino, sackler/freer shop Ms. Diane H. Schafer Rights and Reproductions specialist CURATOR FOR CHINESE ART MANAGER Mrs. Masako Shinn Rebecca Barker, rights and Jan Stuart, associate curator Stephen Nosalik, assistant shop Dr. Gursharan Sidhu reproductions coordinator EDUCATION FOR CHINESE ART MANAGER Professor Elizabeth ten Grotenhuis Claire Orologas, head Massumeh Farhard, chief curator Library Page Salazar, buyer Stephen Eckerd, education AND CURATOR FOR ISLAMIC ART HONORARY Reiko Yoshimura, head librarian Cristina Rodriquez, accounting SPECIALIST (IMAGINASIA) Ann C. Gunter, head of scholarly Mrs. Cynthia Flelms Kathryn Phillips, assistant head technician Michael Wilpers, performing arts PROGRAMS AND PUBLICATIONS AND Sharon Bellinger, lead category Sir Joseph Plotung librarian PROGRAMMER CURATOR FOR ANCIENT NEAR Yue Shu, assistant librarian ASSISTANT Thomas Vick, films programmer EASTERN ART Michael Smith, assistant librarian Jean Kniseley, category assistant Cynthia Raso, public information Kenneth Myers, associate curator Edwin Garcia, category assistant ASSISTANT (DOCENTS) FOR AMERICAN ART Conservation and Scientific Research Lillian Tabada, sales store clerk Theresa Esterlund, education Debra Diamond, associate curator Paul Jett, head Karlena Reid, sales store clerk SPECIALIST (INTERPRETATION) FOR SOUTH AND SOUTHEAST ASIAN ART Ellen Chase, object conservator Angela Daniels, sales store clerk Julie Edwards, education technician Jane Norman, exhibitions Martha Smith, paper conservator Naomi Shaw, sales store clerk* (SCHOOL AND TEACHER PROGRAMS) CONSERVATOR John Winter, senior conservation Rosie Clam, sales store clerk* Joanna Pecore, education specialist Stephen Allee, research specialist scientist Cathy Cormack, sales store clerk* (ADULT PROGRAMS) Ingrid Larsen, research specialist Janet Douglas, conservation Steven Davis, sales store clerk* Andrew Finch, audiovisual Mary Slusser, research associate scientist Jamie Lang, sales store clerk* SPECIALIST Jaya Kaveeshwar, administrative Blythe McCarthy, conservation Anne Michelle Low, sales store Herbert Bulluck, assistant audio • assistant scientist clerk* VISUAL SPECIALIST Vacant, administrative assistant Andrew Hare, supervisory east Sue McDill, SALES STORE CLERK Elizabeth Benskin, education Weina Tray, administrative assistant ASIAN PAINTING CONSERVATOR Dimitre Natchev, sales store clerk* SPECIALIST (SCHOOL AND TEACHER Dee Dee Clendenning, managing Jiro Ueda, east asian painting Michelle Damian, sales store clerk* PROGRAMS) EDITOR FOR SCHOLARLY PUBLICATIONS CONSERVATOR Jesse DelGizzi, sales store clerk* Maria Isaac'Williams, management Xiangmei Gu, east asian painting Ryan Tulo, sales store clerk* Collections Management SUPPORT ASSISTANT CONSERVATOR Damares Glover, sales store clerk* Bruce Young, head Christine Lam, east asian painting Rohan Reid, sales store clerk* Exhibitions registrar, Elizabeth Du ley, CONSERVATOR Catherine Adams, sales store Cheryl Sobas, head FREER GALLERY Hisashi Higuchi, east asian painting clerk* Alan Francisco, assistant registrar Jeffery Smith, assistant registrar CONSERVATOR Frager, sales store clerk* FOR EXHIBITIONS Ruby FOR COLLECTIONS INFORMATION Joseph, conservation Abigail Johnson, sales store clerk* Jeffrey Vacant, management support Craig “Rocky" Korr, art handling SCIENTIST Abby Hexter, sales store clerk* (EXHIBITIONS) ASSISTANT SPECIALIST Christina Cole, conservation Laura Rodini, sales store clerk*'. Timothy Kirk, art handling SCIENTIST Maki Teshima, sales store clerk* SPECIALIST Jai Alterman, conservation Irena Woodruff, sales store clerk* Kitsoulis, art handling Susan TECHNICIAN Angela Hays, sales store clerk* SPECIALIST Samantha Wasco, sales store clerk* Christina Popenfus, art handling Janet Rodriguez, sales store clerk* SPECIALIST * part-time or intermittent FS G 2005 denotes ANNUAL RECORD 20 | BOARD, STAFF, INTERNS, VOLUNTEERS, AND DOCENTS Interns ASSOCIATE DIRECTOR’S OFFICE Allen, Ashley. Collections Hirata, Miyabi. Curatorial. Tokyo, Norma, Emma, Photography, the Patrick Sears, associate director Management, george Washington JAPAN. FIELD SCHOOL, WASHINGTON, DC. UNIVERSITY, WASHINGTON, DC, Hoang, Susan. Minority Internship Long. Network Services Ouyang, Education, thomas Arakawa, Kyoko, Curatorial, TOKYO, Program. Edward Boyd, head Curatorial. Pomona JEFFERSON HIGH SCHOOL, FAIRFAX, VA. japan COLLEGE, CLAREMONT, Jianguo Wu, information CA. Owczarek, Nina. Conservation and Arkin, Nathan. Education, mclean Jow, Sylvia. Curatorial. Washington, Scientific TECHNOLOGY SPECIALIST (DATABASE Research, new York HIGH SCHOOL, VIENNA, MANAGEMENT) VA. do. UNIVERSITY, NEW YORK, NY. Bae, Kevin. Scholarly Publications. Kim, Moonsil Abdelazia Mehdi, computer Lee. Education. Parekh, Shagufta. Curatorial. GEORGE MASON UNIVERSITY. UNIVERSITY OF PITTSBURGH, ASSISTANT NATIONAL MUSEUM, DELHI, INDIA. FAIRFAX, VA. PITTSBURGH, PA. Pentecost, Nicholas Walker. Bahar, Madeleine. DESIGN, PUBLICATIONS, Director's Kohut, Betsy. Collections Education, mcdaniel college, AND DIGITAL MEDIA Office/Public Affairs and Management, harvard university, WESTMINSTER. MD. Dennis Kois, head Marketing, kenyon college, CAMBRIDGE, MA. Qiu, Lehong. Dick Louie Memorial Lisa Banana, departmental GAMBIER, OH. Amy Landau, Curatorial, oxford Intern. Archives. RICHARD ADMINISTRATOR Baird, Virginia. Collections UNIVERSITY, OXFORD, ENGLAND. MONTGOMERY HIGH SCHOOL. Management/Conservation and LaPorte, Alexis. Publications. ROCKVILLE, MD. Design and Production Scientific Research. Washington GEORGE WASHINGTON UNIVERSITY, Rozek, Jessica. Rights and Dennis Kois, chief designer AND LEE UNIVERSITY, LEXINGTON, VA. WASHINGTON, DC. Reproductions, university of Beckham, Maggie. Public Kelly Webb, graphic designer Affairs Lauro, Daniele. Library, universita PITTSBURGH, PITTSBURGH, PA. and Marketing, Richard Skinner, lighting designer george DEGLI STUDI D! NAPOLI, L’ORIENTALE, Stevens, Maria K. Curatorial. WASHINGTON UNIVERSITY. Karen Sasaki, exhibition designer NAPLES, ITALY. BOWDOIN COLLEGE, BRUNSWICK, ME. WASHINGTON, Nancy Flacskaylo, graphic designer DC. Lee, Andrea. Education, george Su, Eric. Education. Montgomery Bishop, Kyan. Public Adrian Fundeneanu, assistant Affairs and WASHINGTON UNIVERSITY BLAIR HIGH SCHOOL, SILVER SPRING, LIGHTING DESIGNER Marketing. Montgomery college, WASHINGTON, DC. MD. TAKOMA PARK, MD. William Bound, production manager Li, Tang. Curatorial, university of Takamatsu, Mari. Curatorial, new Burns Pasley, Virginia. Public Affairs Earlene Bond, exhibits MARYLAND, COLLEGE PARK, MD. YORK UNIVERSITY, NEW YORK, NY. and Marketing, preparator/silkscreener college of william Lim, Alex. Conservation and Tsubouchi, Masami. Curatorial. AND MARY, Scott Coleman, cabinetmaker WILLIAMSBURG, VA. Scientific Research, johns hopkins GEORGETOWN UNIVERSITY, Chang, Ya-Wen. Cornell Evans, cabinetmaker Education. UNIVERSITY, BALTIMORE, MD. WASHINGTON, DC. UNIVERSITY of John Piper, exhibits MARYLAND, COLLEGE Livengood, Nora. Conservation and Ustun, Ozge Gencay. Scholarly PARK, MD. preparator/mountmaker Scientific Research, t.c. williams Publications/Conservation and Chen, Xi. Education, thomas Roderick Tony Sanders, painter HIGH SCHOOL, ALEXANDRIA. VA. Scientific Research, university of JEFFERSON HIGH SCHOOL, VIENNA, and finisher VA. Mashimo, Yayoi. Education, george MARYLAND, COLLEGE PARK, MD. Cheung, Geoffrey. Education. Malik Johnson, exhibits specialist WASHINGTON UNIVERSITY, Vaden, Elizabeth Kirkbride. (GENERAL) UNIVERSITY OF MARYLAND, COLLEGE WASHINGTON, DC. Curatorial. Washington, , dc. PARK, MD. Mishra, Seema. Education, george Varga, Lauren. Conservation and Digital Media Chiu, Byron. Education, ellicott WASHINGTON UNIVERSITY, Scientific Research, state John Gordy, head of digital media CITY, MD. WASHINGTON, DC. UNIVERSITY OF NEW YORK, BUFFALO, NY. Jacqueline Bullock, web producer D'Souza, Priya. Education. Mizoguchi, Brian. Education. Williams, George. Curatorial. GEORGE Sarah Sullivan, web producer UNIVERSITY OF MARYLAND, COLLEGE UNIVERSITY OF MARYLAND, COLLEGE WASHINGTON UNIVERSITY, PARK, MD. PARK, MD. WASHINGTON, DC. Publications Ferguson, Sarah. Dick Louie Morgan, Madeleine. Curatorial. Wishner, Rachel. Education, george Adina Brosnan-McGee, Memorial Intern. Education, flint GEORGE MASON UNIVERSITY, FAIRFAX, WASHINGTON, UNIVERSITY, publications specialist HIGH SCHOOL, OAKTON, VA. VA. WASHINGTON, DC, Rachel Faulise Gomes, Amanda Susan. Education. Morse, Ginevra. Scholarly Zhang, Chen-Yue (Tony), Education. production manager BETHLEHEM, PA. Publications, mcgill university, THOMAS S. WOOTTON HIGH SCHOOL, Graves, Eleanor. Education, george MONTREAL, CANADA. ROCKVILLE, MD. MASON UNIVERSITY, FAIRFAX, VA. Nafisi, Nahal. Curatoriai. Zhu, Xiaoqing. Curatorial, university Guedes, Jade. Conservation and WASHINGTON, DC. OF MARYLAND, COLLEGE PARK. MD. Scientific Research, sorbonne, Ng, Wendy. Scholarly Publications. PARIS, FRANCE. YORK UNIVERSITY, TORONTO, CANADA. ' Flan, Gloria Eunkyung. Education. Nguyen, Nhi. Administration. UNIVERSITY OF MARYLAND, COLLEGE GEORGE MASON UNIVERSITY, FAIRFAX, PARK, MD. VA. Hart, Lindsay. Education, elon Nieh, Ting (Alice). Dick Louie UNIVERSITY, ELON, NC. Memorial Intern. Education. Heiner, Bertie Margaret. Education. WINSTON CHURCHILL HIGH SCHOOL, WASHINGTON, DC. POTOMAC, MD. ANNUAL RECORD 21 FS G | 2005 BOARD, STAFF, INTERNS, VOLUNTEERS, AND DOCENTS Department Volunteers Docents Stephanie Bailey, library Active M. Elizabeth Sansbury Judith Buckner, education Charlotte Anker Marshall Seymour Austin Creel, library Martha Bari Manuel Silberstein Isabel Dagata, library, conservation Marinka Bennett Helen Sirkin AND SCIENTIFIC RESEARCH George Blundall Lillian Sokol Lawrence Devore, conservation and Robert Boies Lucile Stark SCIENTIFIC RESEARCH Andrea Brown Dorothy Steele Anna Gleysteen, library Cecilia Chin Robert Stockho Hiroko Izumi, library Diana Clagett Betty Lee Turner Lionel Kazoff, library Willi Colino-Goodman Sidelle Wertheimer Hsun Lui, library Ann Collins Michael S. Winer Yasuko Nakayama, library Lawrence DeVore Robert Yangas David Rehfuss, curatorial Cynthia Eichberg Gail Yano Rowena Saura, education Joan Flood Emeritus Yumi Shintani, conservation and Susan Grigsby Charlotte Blair scientific research Janet Moore Hawley Joan Feldman Dave Thomas, conservation and Delrie Hobbs Rose Greenfield scientific research Jayjia Hsia Florence Jue Masami Tsubouchi, library and Sanda Huffman Pete Koltnow curatorial Laine Katz Ada Linowes Naoko Yanagi, library Marie-Louise Kennedy Jo Kinkaid Pearl Moskowitz Christine Lee Rita Rothwarf Vivien Lee Lorraine Torres Cornelia Levin Ann Ling Bente Littlewood Linda Lowenstein Susan Lubick Nancy Mannes Elinor Marcks Elizabeth Mark Eriko Masuoka Kathy Mathieson Sushmita Mazumdar Susan McKeon Rebecca Miller Robert Myers Jr. Tanni Newlin Glenna Osnos Susan Papadopoulos Pat Papero Piera Pearce Virginia Peters Laura Platter Perrin Radley Lois Raphling Sanae lida Reeves John B. Rehm Kathleen Rich Jane Washburn Robinson Dorothy Ing Russell ANNUAL RECORD 22 FS|G2005 Credits Asiatics 2006 Photo Credits Unless otherwise noted, all photographs are by 1831-32, color woodblock print, chuban, The Art Co. Offaly (Birr Ireland, late 8th early (?) ?), or 48, top to bottom, column 1: Rounded cup with S1998.171. Jar, Iran, 1000-800 b.c.e., Iron Age II, John Tsantes, Neil Greentree, or Robert Harrell. Institute of Chicago, Clarence Buckingham 9th century (before 822?). Page 34: The Douce loop handle, Iran, 1400-800 b.c.e., Iron Age I— II, earthenware, Gift of Victor and Takako Hauge, Cover Untitled/Freer Construction Frank by Day Collection 1943.602. Bottom: Detail from Ivory, Shuga Oxford, Bodleian Library, MS, Douce 176, earthenware, Gift of Victor and Takako Hauge, S1998.329. Column 4: Bottle, Iran, 1st millennium Director’s Letter Images of Freer reconstruction ichiran (BishQ: Hishiya Kyube, 1818), Smithsonian cover, ivory upper plaque set within binding of a S1998.316. Baluster-form jar with two-color glaze, b.c.e., polished and burnished earthenware, Gift of by Frank Day. Images of Freer Gallery of Art and Institution Libraries, Freer Gallery of Art and parchment ff. ii + codex, 129, Gospel lectionary, Khmer Empire, probably Thailand, Buriram Osborne and Gratia Hauge, S1998.170. Jar, Khmer Arthur M. Sackler Gallery under construction Arthur M. Sackler Gallery Library, Special Latin, Chelles, near Paris, France, ca. 800, ivory Province, Angkorean period, 11th—12th century, Empire, probably Thailand, Buriram Province, are courtesy of Freer Gallery of Art and Arthur Collection, NE1325.K3 A762 1818. Page 17, left: from Aachen, ca. 800. Page 35: Images taken by brown stoneware with iron glaze, laminate of white Angkorean period, 12th-13th century, brown M. Sackler Gallery Archives, Washington, D.C. Rats and Rice Bales, 1843, hanging scroll explorer Wendell Phillips at St. Catherine's stoneware over neck with ash glaze, Gift of stoneware with iron glaze, Gift of Victor and Details Page 4, top: Namban ("Southern mounted on panel, ink and color on silk, Monastery in Sinai in the early 1950s, courtesy of Osborne and Gratia Hauge, S1996.112. Column 2: Takako Hauge, S1996.157. Column 5: Cylindrical Barbarians" in Japan), Japan, Edo period, 17th F1904.132. Right: Thunder God, 1847, hanging the American Foundation for the Study of Man, Bottle, Iran, 1000-800 b.c.e., earthenware, Gift of lidded vessel with pointed knob, Khmer Empire, century, pair of six-panel folding screens, ink, scroll, ink and color on paper, F1900.47. Falls Church, Virginia. Newspaper articles from Victor and Takako Hauge, S1998.332. Baluster- probably Thailand, Buriram Province, Angkorean color, and gold on paper, Freer Gallery of Art, Sugimoto: Art/History All objects and images the Freer Gallery of Art and Arthur M. Sackler form bottle, Khmer Empire, probably Thailand, period, 11th—12th century, earthenware with traces Purchase, F1965.22 and F1965.23. At the Gate courtesy of the artist. Page 18: Black Sea: Gallery Archives. Buriram Province, Angkorean period, 11th century, of white coating, Gift of Victor and Takako Hauge, by Gwyn Hanssen Pigott, 2005, translucent Ozuluce, from the Seascape series, 1992, gelatin Facing East Page 36: We? (multi) Who Am by Do- white stoneware with ash glaze, Gift of Osborne S1996.167a-b. Lime pot with lid, Khmer Empire, porcelain, Private collection, Melbourne, photo silver print. Page 19: Hiroshi Sugimoto in his New Suh, four-color ho 2000, offset print on paper, and Gratia Hauge, S1996.139a-b. Column 3: probably Thailand, Buriram Province, Angkorean by Brian Hand. York studio. Page 20, clockwise from top left: published by Lehmann Maupin Gallery, New York. Tripod ewer, Iran, ca. 1000 b.c.e., burnished earth- period, llth-13th century, white stoneware with Hokusai: Mad About Art Unless otherwise noted, Henry VIII and His Six Queens, 1999, gelatin silver Page 37: Uni-Face Girl by Do-ho Suh, computer- enware, Gift of Osborne and Gratia Hauge, ash glaze, Gift of Osborne and Gratia Hauge, all works in this section are by the Japanese artist prints. Kasuga Deer Mandala, 15th century, hang- generated color photograph, edition of six, exhibi- S1998.169. Jar, Iran, ca. 2400-1400 b.c.e., Late S1996.138a-b. Column 6: Lime paste jar in form of Hokusai (1760-1849), are in the collection of the ing scroll, silk with colors. Lion Dais Reliquary, tion copy, LM6691, courtesy of the artist and Bronze Age, earthenware and paint, Gift of bird, Khmer Empire, probably Thailand, Buriram Freer Gallery of Art, and were the gift of Charles lion, 13th century, reliquary, 14th century, lotus Lehmann Maupin Gallery, York, New ELS2006.2.2. Osborne and Gratia Hauge, S1998.190. Column 4: Province, Angkorean period, llth-12th century, Lang Freer. Pages 8-9: Boy Viewing Mount Fuji, dais, 2003, wood with colors, crystal, and gilt Page 38: The Qianglong Emperor as Manjushri, Cup, Iran, late 2nd millennium b.c.e., burnished white stoneware with ash glaze, Gift of Osbourne 1839, hanging scroll, ink and color on silk, bronze. Wheelstone, 4th century, jasper. Page 21: the Bodhisattva of Wisdom, imperial workshop earthenware, Gift of Osborne and Gratia Hauge, and Gratia Hauge, S1996.146. Bottle, Khmer F1898.10. Page 10, top: Lady Holding a Cat, ca. Treasure Pagoda with Seaview Crystal Ball, 2003, with face by Giuseppe Castiglione, China, mid- S1998.186. Bud-shaped jar, Khmer Empire, proba- Empire, probably Thailand, Buriram Province, 1810s, ink on paper, F1904.256. Bottom: Random pagoda, 13th century, crystal ball, plastic lotus 18th century, ink and color on silk, Freer Gallery of bly Thailand, Buriram Province, Angkorean period, Angkorean period, 11th—13th century, earthenware sketches, 1834, color woodblock printed book, vol. dais, and wind chimes, 2003, iron, silver, crystal, Art, Purchase-anonymous donor and museum 11th—12th century, white stoneware with iron glaze, or underfired stoneware, Gift of Victor and Takako Smithsonian 12, Institution Libraries, Freer Gallery and plastic. Page 22: Kegon Waterfall, Japan, 1977, funds, F2000.4. Page 39, top: Child Acrobats in Gift of Osborne and Gratia Hauge, S1996.135a-b. Hauge, S1996.183. Column 7: Lime-paste jar in of Art and Arthur M. Sackler Gallery Special gelatin silver print. Page 23: Mississippian Sea Japan, Japan, Meiji era, late 19th century, photo- Bud-shaped jar, Khmer Empire, probably Thailand, form of bird, Khmer Empire, probably Thailand, Library, Special Collection, 754.7 ,HB C3. Page 11, Bottom, fossil, Carboniferous period, graph, albumen print with hand coloring, Buriram Province, Angkorean period, llth-12th Buriram Province, Angkorean period, llth-12th clockwise from top: New Year Custom: Makeup on Mississippian epoch, late Osagean stage, Purchase and partial gift of Henry and Nancy century, white stoneware with iron glaze, Gift of century, white stoneware with iron glaze, Gift of the New Year Morning (one of a pair), ca. 1806-11, Edwardsville Formation, Montgomery County, Rosin, Freer Gallery of Art and Arthur M. Sackler Osborne and Gratia Hauge, S1996.135a-b. Column Victor and Takako Hauge, S1996.172a-b. Bottle, hanging scroll mounted on panel, F1903.52. Indiana. Page 24, clockwise from top left: Time's Gallery Archives, R234. Bottom: Woman of the 5: Ewer, Khmer Empire, probably Thailand, Khmer Empire, probably Thailand, Buriram Woman Holding a Fan, ca. 1810-11, hanging scroll, Arrow, 1987, seascape, 1980, reliquary fragment, Court with a Painting of Jahangir, India, Mughal Buriram Province, Angkorean period, llth-12th Province, Angkorean period, llth-12th century, ink and color on silk, F1904.183. Eight Views of 13th century, gelatin silver print, gilt bronze. dynasty, 1603, opaque watercolor on paper, lent century, white stoneware with ash glaze, Gift of stoneware with ash glaze, Gift of Osborne and Fashionable Dandies: Evening Bell of Yazaemon, Elderly Warrior Mask, 13th century, wood with lac- by the Smithsonian American Art Museum, Gift of Victor and Takako Hauge, S1997.131. Jar, Iran, Gratia Hauge, S1996.140a-b. ca. 1785, color woodblock print, chuban, Gift of quer and colors. Monju Bosatsu (the Bodhisattva John Gellatly, LTS1985.1.354. Page 40: Head of a 1400-800 b.c.e., Iron Age l-ll, earthenware, Gift of Fire + Water Page 50: Lamp shaped as a tripod the family of Eugene and Agnes E. Meyer, Mahjusn), 13th century, hanging scroll, silk with Pharaoh, Egypt, Old Kingdom, Dynasty 5 or 6, ca. Osborne and Gratia Hauge, S1998.24. Column 6: (ding), China, Western Han dynasty, 220 b.c.e.-8 F1974.73. Page 12, top: Illustrated Book of the colors. Female Shinto Deity, 12th century, wood 2500-2170 B.C.E., stone and copper, Freer Gallery Jar, Iran, 1400-800 b.c.e., Iron Age l-ll, earthen- C.E., bronze, Arthur M. Sackler Gallery, Gift of the Glories of China and Japan, 1850, woodblock with colors. Page 25: Hiroshi Sugimoto’s work- of Art, Purchase, F1938.ll. Page 41, top left: ware, Gift of Osborne and Gratia Hauge, Arthur M. Sackler Foundation, S2006.4. Page 51: printed book, Smithsonian Institution Libraries, room and storage area in his studio in Chelsea, Prince Khurram, the future emperor Shah Jahan, S1998.194. Cylindrical lidded vessel with knob, Ewer with dragon handle and dragon spout, China, Freer Gallery of Art and Arthur M. Sackler Gallery New York. Page 26: Sugimoto in the specially built India, ca. 1615, ink on paper, Arthur M. Sackler Khmer Empire, probably Thailand, Buriram Tang dynasty, 8th-9th century, Lushan ware Library, Special Collection, NE1325, K3 A639, darkroom he designed. Gallery, S1986.437. Bottom left: Detail, Portrait of Province, Angkorean period, lOth-llth century, (Duandian kiln), Huangdao ware, Jiaxiam, Henan 1850. Below: Rough sketches, 1820, woodblock In the Beginning: Bibles Before the Year 1000 a Painter, ascribed to Bihzad, Turkey, Ottoman light gray stoneware with ash glaze. Gift of Victor province, Arthur M. Sackler Gallery, Gift of the printed book, Smithsonian Institution Libraries, Page 29: Back cover of Washington Manuscript dynasty, late 15th century, opaque watercolor and and Takako Hauge, S1996.165a-b. Column 7: Bud- Arthur M. Sackler Foundation, S2006.6. Freer Gallery of Art and Arthur M. Sackler Gallery III—The Four Gospels (Codex Washingtonensis), gold on paper, Freer Gallery of Art, Purchase, shaped jar, Khmer Empire, probably Thailand, Focus Page 53, bottom: Detail, Forking Tongues Library, Special Collection NE1325K3 by A685 1820. with figures of Sts. Mark Luke, and Coptic, Egypt, F1932.28. Right: Self-Portrait Presented to Wang Buriram Province, Angkorean period, llth-12th Simryn Gill, 1992, assorted cutlery with dried Bottom: Detail of Six Immortals of Poetry, ca. 7th century, encaustic painting on wooden panel, Chi-yuan by Chang Dai-chien (Zhang Sagian), century, white stoneware with ash glaze, Gift of chilies, Courtesy of the Queensland Art Gallery 1806-1808, one of a set of six hanging scrolls, Freer Gallery of Art, Gift of Charles Lang Freer, China, 1965, hanging scroll, ink on paper, Arthur Osborne and Gratia Hauge, S1996.142a-b. Jar with Foundation, Collection: Queensland Art Gallery. F1907.371. Page 13, top: Wagtail and Wisteria, F1906.298. Page 30: Archival images courtesy of M. Sackler Gallery, Gift of the Estate of Wang Chi- pinched spout, Iran, 1st millennium b.c.e., earthen- Page 54: Images of the National Museum of 1834, color woodblock print, chuban, Arthur M. the Archives of the Freer and Sackler Galleries, yuan, S1991.154. Page 42: Self-Portrait by Kohno ware, Gift of Victor and Takako Hauge, S1998.319. Cambodia courtesy of Nuen Sophal, Sackler Gallery, The Anne van staff photog- Biema Collection, Smithsonian Institution. Page 31: The Sayings of Michisei, Japan, 1917, oil on canvas, Arthur M. Page 49, top to bottom, column 1: Jar with tripod rapher. (Thank S2004.3.213. you to Helen Jessup and to Bottom: Detail from Hokusai manga Jesus (Logia Jesus), Oxford, Bodleian Library, MS, Sackler Gallery, Gift of Shuntatsu Kohno and the base, Iran, 1400-800 b.c.e., Iron Age l-ll, earthen- Professor Michael (Biyo [Nagoya]: Tohekido, Lestz, who provided the transla- 1818-78), vol. 14, Gr. Th. E 7 (P) recto and verso, ink on papyrus, f. Kohno family in memory of their father, S1998.115. ware, Gift of Victor and Takako Hauge, S1998.318. tion, for their help with this article.) Page 55: Smithsonian Institution Libraries, Freer Gallery of 1, Gospel of Thomas (fragment Greek, ), Page 43, top: Six Recruits from the Fraser Album, Baluster-form bottle, Khmer Empire, probably Images of Dries Van Noten’s fall Art and Arthur M. Sackler Gallery 2006 Ready to Library, Special Oxyrhynchus, Egypt, 3rd century C.E. Page 32: attributed to Ghulam Ali Khan, India, state of Thailand, Buriram Province, Angkorean period, Wear collection courtesy of STYLE.COM. Collection, 754.7 .H8. Page 14, left: Breaking Deuteronomy and Joshua, Freer Gallery of Art, Haryana, 1815-16, watercolor on paper, Arthur M. llth-12th century, brown stoneware with iron Endnote Page 56: Images courtesy of the Arthur Waves, 1847, hanging scroll, ink and color on silk, F1906.272, ff. 117v and 119r, ink on parchment, ff. Sackler Gallery, Purchase, S1999.1. Bottom: Veiled glaze, Gift of Osborne and Gratia Hauge, M. Sackler Gallery and F1903.109. Right: Detail of Shinto the Freer Gallery of Art Priest, Three 102, end of Deuteronomy and beginning of Woman with Pearls by Antoin Sevruguin, Iran, S1996.117. Column 2: Ewer, Iran, 1000-800 b.c.e., Archives. Top: Charles Women, and a Child, ca. 1799-1801, Lang Freer Papers, Freer two-panel Joshua, Greek, Egypt, early 5th century. Page 33: 1890-1900, modern print from a glass-plate nega- burnished earthenware, Gift of Osborne and Gratia Gallery of Art and Arthur M. Sackler folding screen, ink, gold, and color on paper, Gallery The Macregol Gospels (alias The Rushworth tive, Myron Smith Bement Collection, Freer Hauge, S1998.192. Jar, Iran, ca. 2400-1400 b.c.e., Archives, Gift of the Estate of F1904.177. Page 15: Details of Handscroll with Charles Lang Freer, Gospels), Oxford, Bodleian Library, Auct. MS. D. 2. Gallery of Art and Arthur M. Sackler Gallery Late Bronze Age, earthenware with paint, Gift of A0398. Bottom: Exterior elevation Miscellaneous Images. 1839, handscroll, ink drawing of the and ff. 19, 51v-52r, ink and pigments on parchment, ff. Archives, negative number 2.07. Osborne and Gratia Hauge, S1998.21. Column 3: Sackler pavilion, 35 slide, Freer color on paper, F1902.42. Page 16, top: One mm Gallery of Art ii + 171, Gospels, Latin, with Old English gloss Taking Shape All works in this section are in the Jug, Iran, 1400-800 b.c.e., Iron Age l-ll, burnished and Arthur M. Sackler Gallery Hundred and One Ghost Tales: Kohada Koheji, ca. Archives. (added in England in second half of 10th century), collection of the Arthur M. Sackler Gallery. Page earthenware, Gift of Osborne and Gratia Hauge, ANNUAL RECORD 23 FS | G 2005 a * asiatica PUBLISHER Julian Raby EDITOR IN CHIEF Howard S. Kaplan ART DIRECTOR Kelly Doe ANNUAL RECORD EDITOR Victoria Dawson CONTRIBUTING EDITORS Victoria Dawson Nancy Eickel IMAGE EDITOR Anna Leithauser CONTRIBUTORS Victoria Dawson Howard S. Kaplan PHOTOGRAPHERS Neil Greentree John Tsantes Contributing Museum Staff MUSEUM EDITOR Jane Lusaka PRODUCTION MANAGER Rachel Faulise HEAD OF EXTERNAL AFFAIRS Katie Ziglar HEAD OF DESIGN AND PRODUCTION Dennis Kois HEAD OF IMAGING AND PHOTOGRAPHIC SERVICES John Tsantes MUSEUM ART DIRECTOR Reid Hoffman CONTRIBUTING DESIGNERS Adina Brosnan-McGee Nancy Hacskaylo Endnote j From t h e Archives CABLE ADQRESS.“COPLArA, BOSTON” ' YORK CABLE ADDRESS, PLAZA . NEW TELEPHONE. SACK BAY *S«00 TELEPHONE PLAZA I7AO , ^ -y ; FS Asiatica is published annually by the Freer Gallery of Art & Arthur M. Sackler Gallery. Smithsonian Institution, Washington, D.C. All correspondence should be directed to: Publications Department Freer Gallery of Art & Arthur M. Sackler Gallery P.O. Box 37012, MRC 707 Washington, DC 20013-7012 Visit us on the web at www.asia.si.edu. © 2006 Smithsonian Institution asiatica Fsig 2006 THE FREER GALLERY OF ART AND ARTHUR M. SACKLER GALLERY TOGETHER FORM THE NATIONAL MUSEUM OF ASIAN ART FOR THE UNITED STATES. ^ Smithsonian Institution© 9 § $ § 9 f $ © U ® © §