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Home , Ceramic art, Ding ware, Suzuki Kiitsu

Asia Week New York

he format of Asia Week New York continues to evolve. Thirty- miniature , acquired mainly in the 1970s and ’80s. Several Tfour galleries from the UK, , and , and the were purchased from Colnaghi in the late 1970s, and others at US, five auction houses and several and institutions auction. A Mughal work in opaque watercolour with gold on are now grouped under the ‘Asia Week’ (AWNY) umbrella (18- titled An assembly of royal pigeons round a dovecote (circa 1660) 26 March; asiaweekny.com). All are listed in a printed guide, depicts prize pigeons that would have been kept by special trainers as well as on a new website. Following a panel discussion and for the amusement of the emperor. On the reverse are ten lines of private cocktail reception at Asia Society on 18 March, the various nastal’iq . From the desert state of Bikaner is a circa galleries will hold open houses over the weekend. 1670 illustration of the story, Madhavanala faints when he sees Asia Society will also be hosting its annual gala benefit the beauty of Kamakandala (26 x 25.5 cm), inscribed ‘work of the reception and dinner on 21 March. Japan Society will host a lecture imperial master’, which was formerly in the Paul Walter collection. and private reception on 22 March, previewing a group show by (18-26 March; 9 East 82nd Street, Suite 1A) young Japanese , titled ‘Bye Bye Kitty!!! Between Heaven Kang Collection will show and Hell in Contemporary Japanese ’ (see Joe Earle, ‘Memories, classical and contemporary Dreams, Reflections: Bye Bye Kitty!!! at Japan Society, New Korean art spanning 200 years, York’, pp. 139-42 in this issue). particularly ink paintings and The six-strong Japanese Art Dealers’ Association (JADA) will screens. The earlier works focus stage its third annual joint exhibition ‘JADA 2011: An Exhibition on the art that developed out of by the Japanese Art Dealers Association’ at the Ukrainian Institute the tumultuous period of the late at 2 East 79th Street (19-23 March), with three JADA members also 19th to early 20th century, as seen, holding individual gallery shows. for example, in the eight-panel A number of ‘independents’ will exhibit in the Fuller Building screen Guo Ziyi’s Banquet by an and elsewhere in Manhattan, and the 20th edition of the Caskey- anonymous 19th century Detail of Guo Ziyi’s Banquet Lees of Pacific Asia show runs from 24 to 27 March, with an , 19th century (ink and colour on silk; 146.7 x opening preview on the 23rd. Kang Collection 350.5 cm). The contemporary In our preview of the week’s events, we list the gallery shows offerings include paintings by by group and geographically, from two of Korea’s cutting-edge , So-hyun Bae and Sun north to south. Kwak, which illustrate how the influence of tradition seeps through the boldness of contemporary art. (19-27 March; 9 East 82nd Street) AWNY The exhibition ‘Master Works of Indian & Southeast Asian Art’ Art of the Past has titled its at Doris Wiener includes an early exhibition ‘Saundarya – 35 Years on Eastern Indian stele of the Hindu Madison Avenue’. The South and Vishnu in grey stone, from Southeast Asian paintings, Bihar, dating to the 6th/7th century and decorative works of art are (height 83.8 cm). Other objects on selected for their potential to evoke show are a South Indian bronze in the viewer a sense of saundarya, image of a Jina, Khmer and pre- an experience or ecstatic state of Khmer sculptures, Himalayan gilt consciousness realized through the Detail of Savant bronzes and thangkas, and Indian practice or witnessing of art. Paintings Singh as Krishna miniature paintings. (19-26 March; Kishangarh, c. 1760, Vishnu include one attributed to Nihal Chand attr. Nihal Chand 1001 Fifth Avenue, #3C) India, Bihar, 6th/7th century of the Kishangarh court, circa 1760, Art of the Past Lotus paintings by Shi Ze Doris Wiener depicting Savant Singh and will be the focal point of Bani Thani (36.2 x 26.4 cm). (15 M. Sutherland Fine Arts’ March-2 April; 1242 Madison exhibition of contemporary Avenue) . A practising ‘Indian Miniature Paintings Buddhist, Shi uses a variety from the Lloyd Collection’ of media, from Chinese presented by Oliver Forge & ink and colour washes and Brendan Lynch features 25 Western oils to Tibetan Mughal, Rajput and Deccani thangka pigments, to depict the lotus, the Buddhist Madhavanala faints when he sees the symbol of purity. One of beauty of Kamakandala Violet and Gold Lotus India, Bikaner, c. 1670 his recent works, in By Shi Ze (b. 1960), 2010 Oliver Forge & Brendan Lynch pigments, gold and ink on M. Sutherland Fine Arts

160 paper, is titled Violet and Gold Lotus provide a striking contrast with the -blue dragons on a (59.7 x 48.3 cm). (19-26 March; 55 sturdy jar from some 600 years later. Chinese paintings East 80th Street, 2nd floor) range in date from the early 13th century to the present day, and A grey schist figure of a include an early 18th century work by Lin Chaokai, a direct pupil ‘thinking bodhisattva’ is, says John of Italian master Lang Shining; Japanese works cover the Eskenazi, ‘a wonderful example of period to the late 19th century. (18 March-28 April; 74 East 79th the creative powers of Gandharan Street) sculptors’, and was probably part Over ten years in the making, the of a tableau depicting a vision exhibition ‘Birds of Dawn: Pioneers of of the Buddhist paradise with an Japan’s Sodeisha Movement’ at ensemble of acolytes surrounding a Joan B. Mirviss’s gallery displays seventy central image of the Buddha (height seminal works by ceramicists Suzuki 51 cm). It is one of the highlights Osamu, Yagi Kazuo and Yamada Hikaru. As of his annual New York show of founders of the movement, which promoted Indian, Gandharan, Himalayan and Thinking bodhisattva an avant-garde approach favouring non- Gandhara, 3rd/early 4th century Southeast Asian works of art. Also John Eskenazi traditional sculptural works often bearing featured will be a fragment poetic titles, these artists looked to diverse of a temple panel from eastern India, Bihar or Bengal, depicting a sources, such as poetry, music, surrealism, dancing Shiva and dated to the 5th/6th century during the Gupta cubism and Western literature, as points of period, the zenith of terracotta art. (16-30 March; Williams, Moretti departure from the ‘warm bed’ of traditional Hanayagu tori and Irving Gallery, 24 East 80th Street) – for example, Suzuki’s 1991 work By Suzuki Osamu (1926-2001), 1991 ‘Early Chinese titled Hanayagu tori (Flamboyant Bird), in Joan B. Mirviss metalwork in gold and with red and ash glazes (57.5 x silver; works of art of the 25.4 x 13.3 cm). A book accompanies the exhibition, with scholarly Ming and Qing dynasties’, essays by Glenn Adamson and Rupert Faulkner of the Victoria Eskenazi’s 15th annual and Albert , London, and Joe Earle of Japan Society. (16 New York exhibition, March-29 April; 39 East 78th Street, 4th floor) will focus on luxurious Nancy Wiener’s exhibition, items made for emperors, ‘Indian and Southeast Asian Libation cup courtiers and scholars. , Jewelry, and Works on , Wanli period, 1582 Among them is a parcel- Paper from 300 BC to the Present’ Eskenazi, Ltd gilt silver box and cover in will highlight an 11th/12th century, the form of a melon surmounted by a bushy-tailed squirrel holding Pala period Avalokiteshvara in a bunch of grapes. The work was acquired in Shanghai by collector/ black stone (height 72.4 cm). In dealer Walter Hochstadter in the 1950s. A Ming period rhinoceros the selection will be a horn libation cup, carved in the shape of a hibiscus flower gold Khmer necklace carved in with a dragon clambering up its stem, is inscribed with a date the shape of intertwined jasmine corresponding to 1582 and a poem referring to two of the legendary blossoms. Also on view will seven sages of the bamboo grove, Ji and Ruan (11.5 x 19.4 cm). Detail of Avalokiteshvara be a group of Indian miniature Also in rhinoceros horn is a figural carving of Bodhidharma from India, 11th/12th century paintings. (16-24 March; Trezza the late Ming or early Qing period. Nancy Wiener Gallery, 39 East 78th Street) (15-26 March; Ukrainian Institute, The exhibition ‘A Sterling Collection of Indian and Himalayan 2 East 79th Street) Art’ at Kapoor Galleries comprises 29 Indian miniature paintings Kaikodo’s ‘Asian Journeys’ and 15 sculptural works from India, Nepal and Tibet, assembled exhibition, accompanied by over two decades by an American collector. Highlights include two Kaikodo Journal XXVII, takes illustrations from the ‘Gita-Govinda’ series, which are attributed to visitors on a ‘grand tour through Guler, of the first generation after Nainsukh, circa 1780 (14.9 x 25.2 time, and psyche’, with cm). Complementing the vivid colours of these painted works are a paintings from China, Korea and circa 5th/6th century bronze figure of Padmapani from Afghanistan Japan, juxtaposed with Chinese, Korean and . A highlight of the Korean works is a 12th century maebyeong Leaf from the ‘Gita that was once in the collection of Govinda’ series By Guler, c. 1780 Maebyeong John R. Menke (height 31 cm). Kapoor Galleries Korea, The delicately incised and period, 12th century Kaikodo subtle grey-green glaze of this

161 or Pakistan, and a large, powerful bronze paintings, are from private image of Vajradhara by a Nepalese artist, collections in America possibly made for the Chinese Yuan court. and Europe. On view are (19-26 March; 1015 Madison Avenue) a 2nd century Indian red In the exhibition ‘Ink, , and : sandstone sculpture from a New Selections of Early to Contemporary Swiss collection, depicting Japanese Masterworks’, Hiroshi Yanagi the lower torso of a yakshi, will be showcasing wood sculpture, along with a 7th/8th century paintings, Kyoto ceramics and bronze image of Lakshmi, other works. A hanging scroll in ink on the goddess of prosperity, and paper depicting a simple landscape is by a 4th/5th century terracotta Soga Shohaku, who studied painting with head of a bodhisattva Takada Keiho, and whose work is notable from the Hadda region of for the spontaneity of the brushstrokes Portrait of Tashipel Afghanistan. Noteworthy (113 x 52 cm). On 23 March, Yanagi will Tibet, c. 13th century among the paintings is a Landscape Carlton Rochell By Soga Shohaku host an illustrated lecture by John Stevens circa 13th century Tibetan (1730-81), titled ‘Pure Land of Beauty: The Art of thangka in distemper on cloth portraying the Buddhist hierarch Hiroshi Yanagi Otagaki Rengetsu’. (17-28 March; Arader Taklung Thangpa Chenpo, also known as Tashipel, who founded Galleries, 1016 Madison Avenue, 2nd floor) Taklung monastery in 1180 (37.5 x 29.2 cm). The work illustrates Andrew Kahane’s exhibition how, in portraits of revered hierarchs, Tibetan artists adapted ‘Early – Asian Indian iconographic conventions for the depiction of Buddhas, Works of Art’ includes objects bodhisattvas and other ; Tashipel is shown with his hands from Buddhist traditions in both in dharmachakra pravartana mudra, the gesture of religious categories. A highlight of the instruction. (17-25 March; 44 East 74th Street) mainly Song period ceramics is Thirty Indian and Himalayan stone a lotus bowl and bronze sculptures and thangkas from dated to the Southern Song, which the collection of historian of Indian art was originally in the Hellner Simon Digby are being exhibited by collection and is published in London-based John Siudmak. Eleven Oriental Ceramics: The World’s sculptures are from Kashmir, the earliest Great Collections, Volume 8. A tiny Head of Kala being a 6th century stone lustrated seated Indonesia, Eastern Java, repoussé gold head of the Tantric South Malang, late Singhasari/ Lakshmi, which was exhibited in the ‘The Buddhist deity Kala from Eastern early Majapahit period, Arts of Kashmir’ at Asia Society in 2007. Java is one of the more unusual 13th/early 14th century Another highlighted image is a seated Andrew Kahane offerings, and dates to the 13th/early brass Buddha from Kashmir, dating to the 14th century (height 6.5 cm). (19-26 March; 42 East 76th Street) second half of the 7th century (height 23 Seated Buddha 19 26 23 The exhibition ‘New Shoots cm). ( - March; C. G. Boerner, East Kashmir, second half off the Old Trunk: Contemporary 73rd Street) of the 7th century Chinese Art with Classical Roots’ Jiyoung Koo of KooNewYork plans John Siudmak at China 2000 explores issues to focus on just ten pieces in her ‘10th Anniversary Exhibition of such as the ‘Chineseness’ of Korean Art’. One of the contemporary Chinese art. The highlights is a recently works selected reflect, revisit and discovered large Buddhist arise out of the artists’ response pantheon from to their Chinese cultural heritage. the early 18th century, Featured artists include Xu Bing, which would originally Zeng Xiaojun, K. S. Wang, Wei have served as a master Jia, Annysa Ng, Mel Chin, Ya artist’s underdrawing for a Detail of Ambiguous Ming, He Saibang and Zhang commissioned devotional Space aka Hua Xuan Lichen. Hong Kong-born Annysa painting. There are no By Annysa Ng, 2009 China 2000 Ng’s Ambiguous Space aka Hua known comparable examples Xuan is a two-panel work in ink Buddhist pantheon in the West (151.1 x 151.1 Korea, period, 18th century on silk (each: 76.2 x 101.6 cm). (19-25 March; 434A East 75th KooNewYork cm). Alongside the classical Street) works are contemporary ceramics by Lee In-chin and Lee Young- Carlton Rochell will show some twenty examples of ‘Indian, Jae, by Bae Bien-U and Chun Seachang, and burned Himalayan and Southeast Asian Art’, ranging in date from the 2nd incense by Park Jihyun. (18-26 March; Mark Murray to the 18th century. Most of these works, including sculptures and Gallery, 39 East 72nd Street, 5th floor)

162 Camel for washing one’s hands China, Tang period (618-907) Michael C. Hughes during ceremonies (11 x 33.5 cm). This widely ‘Chinese Sculptures & published and exhibited Works of Art’ from Michael example has been in the C. Hughes include a large Fritz Low-Beer, Frederick glazed striding Bactrian camel M. Mayer, and Alan (height 73 cm), previously and Simone Hartman in the collection of Bernice collections, among Richard and a colourful others. It is decorated on glazed earth spirit, one of the the interior with a coiled earliest recorded, from the snake, while the outside Pan bears a leiwen motif. China, Shang period (13th-11th century BCE) in Hong Christian Deydier Kong. Both works date to the (17-26 March; Galerie Tang period. Metal works include a 17th century gilt-bronze and Friedman-Vallois, 27 East 67th Street) copper repoussé figure of Lhamo, the Glorious Goddess, from the Eric Zetterquist will present Pan-Asian Collection assembled by New York financier Christian ‘The John Menke Collection of Humann in the 1950s to 1970s Vietnamese Ceramics’, amassed and sold through Christie’s in the by the scientist over four decades. 1980s. (18-26 March; Mark Murray The fifty works, many of which Gallery, 39 East 72nd Street, 5th have been published, were chosen floor) for their historical importance Among Leiko Coyle’s recent and aesthetic qualities and offer acquisitions of Himalayan works a glimpse into 1,700 years of the of art are three-dimensional works Vietnamese ceramic tradition, from in wood, stone and bronze from the Dong Son culture of 700-43 BCE India, Tibet and Nepal. Also on to the 17th century. Illustrated is a view is an extensive collection of large Thanh Hoa jar with lid from Jar with lid the Ly period, its lobed body with Tibetan thangkas dating from the Vietnam, Ly period (1010-1225) 14th to the 19th century. One such Eric Zetterquist brown decorative highlights, and work is a large-scale painting of standing on a reticulated pedestal the Buddha Amitayus in mineral base (height 38 cm). Produced between the 11th to 13th centuries, Amitayus pigments on cotton with silk Thanh Hoa type ceramics used firing and glazing techniques from China, Chengdu, Xumifushou brocade (161.3 x 92.7 cm). It was China, while their forms were often influenced by Indian bronzes. temple, 1779-80 (19-31 March; 3 East 66th Street, #1B) Leiko Coyle Asian Art commissioned by the Qianlong emperor in 1778 to commemorate The exhibition ‘Transition to a visit by the Sixth Panchen Lama. (19-20 Empire: Art from the Warring States March; 21-26 March by appointment; 311 to Han China’ at Joe-Hynn Yang’s East 72nd Street, Suite 15E) gallery Courage & Joy follows on Arnold Lieberman’s exhibition of from his inaugural exhibition in 2010 ‘Recent Acquisitions’ focuses on South Asia focusing on Chinese material culture and the Himalayan regions. Highlighted is a of 1,000 years ago. This time, the Ningxia wool-and-cotton carpet dyed with works of art on show, which go back vegetal colours, such as were made for the a further thousand years, reveal how Tibetan market during the Ming and Qing the political and cultural diversity of periods. Mounted as a wall piece on blue the Warring States period reaches a unified aesthetic under the imperial fabric, it features a central skeleton flanked Detail of female figure by eight heads, clouds, a lattice design on Han dynasty. From this later period China, Western Han is a figure of a kneeling female period (206 BCE-8 CE) the bottom and three decorated bull heads, Courage & Joy, Inc. along with an inscription or mantra on top musician in with low- Skeleton carpet fired pigments (height 40 cm). Also on view, by appointment only, (159 x 60 cm). (19-20 March; 21-26 March by China, 1800-99 appointment; 311 East 72nd Street, Suite 6F) Arnold Liebermann will be selected acquisitions that complement the recent exhibition Christian Deydier has selected fifteen objects for his exhibition ‘The World of Khubilai Khan: Chinese Art in the ’ at ‘Treasures from Ancient China III’ which he will submit ‘to the The Metropolitan Museum of Art. (18-26 March; 3 East 66th Street, connoisseur’s judgment’. They include a large -glazed horse #2B) from the Tang period, as well as a Shang period bronze pan, a type The Chinese Porcelain Company will present ‘Ink Paintings of vessel that was, according to the Yili (The Book of Rites) used by Liu Dan, Zeng Xiaojun, and introducing Tai Xiangzhou’. It

163 will be the first traditionally most of the pieces on view are sold with the release of time for Tai, who his catalogues. His exhibition this year, ‘Ancient Chinese Bronzes’, has won numerous comprises vessels, figures, and other works of art made awards in China, to for ritual use or as symbols of power and status. Among them is an be exhibited in the archaic early Western Zhou bronze taotie mask (width 22.9 cm). US. A student of Liu It was made as a chanfron or decorative frontlet, to be mounted Dan’s since 2005, he on a horse’s forehead. Similar objects have been excavated at Tree Study No. 4 has participated in By Zeng Xiaojun (b. 1954), 2009 Western Zhou burial sites discovered at Zhuyangou, Baoji, Shaanxi many group shows The Chinese Porcelain Company province, in 1976. Formerly in the in China. Having collection of Rolf Cunliffe, who spent many years researching Tang, Song, Ming and Qing period acquired it from London’s Bluett paper-making techniques, he uses only Cheng Xin Tang paper, & Sons in 1946, another highlight specially made using techniques from the Southern Tang period, for is a Han period lamp in the form his work, and 18th century ink from the Qianlong period. Liu and of a ram, with similarly incised Zeng, both well-known among collectors and museums, recently surface decoration. (19 March-9 participated in the exhibition ‘Fresh Ink: Ten Takes on Chinese April; Fuller Building, 41 East Tradition’ at the Museum of Fine 57th Street, 14th floor) Arts, Boston. Zeng’s Tree Study Carlo Cristi will be exhibiting No. 4 is an intricate work in ink Himalayan thangkas and bronzes. on paper, depicting the wild and Notable works include an 11th untamed beauty of nature (219.7 x century gilt-bronze image of 116.8 cm). (18-26 March; 475 Park the bodhisattva Manjushri and a Vajrabodhisattva Avenue at 58th Street) 14th century thangka portraying Nepal, 9th/10th century Paintings, woodblock prints Mahakala in the aspect of Yeshe Carlo Cristi and netsuke dedicated to the art Gonpo, seated in the posture of of storytelling will be on show in relaxation. There is also a 9th/10th century Nepalese image of ‘Monogatari: Tales of Japan’ at Vajrabodhisattva in copper and cold gold, just 12 centimetres tall. Scholten. These include a hanging (18-27 March; AFP Galleries, Fuller Building, 41 East 57th Street, scroll in ink and colour on silk (110 Suite 702) x 35 cm). Titled Raijin (God of London dealer Sydney L. Detail of Raijin Thunder), it is by the Meiji period By Mano Gyotei (1874-1934) Moss will present ‘Centenary artist Mano Gyotei. (17-26 March; Scholten Japanese Art Exhibitions of Japanese Art, 145 West 58th Street, Suite 6D) including the Elly Nordskog Beatrice Chang of Dai Ichi Arts will hold an exhibition Collection of Inro’ as published titled ‘Delicate and Daring: the Porcelain Art of China and in the substantial catalogue They Japan’, featuring forty contemporary works of art by Caroline Are All Fire, and Every One Yi Cheng, Sueharu Doth Shine. In addition to inro, Fukami and Takushi netsuke, pipecases and lacquer Haraguchi, among from this well-known collection many others. These Benkei will be some works from the works illustrate the By Ogawa Haritsu . Several objects (Ritsuo; 1663-1747) Kozuchi variety of craftsmanship Sydney L. Moss by master Ogawa By Taro Tabuchi (b. 1977), 2007 applied to the medium, Haritsu (Ritsuo) are highlighted, Dai Ichi Arts including painting, including a lacquered and inlaid wood sculpture of a shaven-headed carving, perforating, enamelling, glazing and . A 2007 work yamabushi, or mountain by Taro Tabuchi, titled Kozuchi, is in unglazed porcelain, iron and hermit, intended to represent clay (63.5 x 25.4 x 20.3 the legendary warrior-monk cm). (16-27 March; 100 Benkei (30 x 27 x 30.2 cm). Central Park South, 11C) Once owned by New York The Fuller Building collector Irving Gould, it is still an important hub was purchased by Paul Moss for local and international 25 years ago. (16-28 March; dealers, with J. J. Alexandre Gallery, 13th floor, Lally’s gallery being an Fuller Building, 41 East 57th Taotie mask important crowd puller. Street) Hasli China, early Western Zhou His opening parties are This year, Sue Ollemans period, 10th/9th century BCE India, Bikaner, 18th century J. J. Lally always mobbed and will be at a new venue with Sue Ollemans

164 her ‘Exhibition of Jewels from Mughal India and Southeast Asia’, wares from the Tang through Qing dynasties’. glazed wares which includes finely enamelled jewels set in the kundan style, have been made in northern China since the end of the Tang period. from Jaipur and Bikaner. One highlight is a hasli inset with white Their very nature does not allow for flaws, so they must be formed, sapphires and decorated in blue-and-white enamels on the reverse glazed and fired with extraordinary care, as exemplified by a white (diameter 18.5 cm). She will also have children’s jewelled kada and glazed ware conical bowl (5.1 x 16.5 cm). It was found in examples of Mughal jades. (19-27 March; Valentina Gallery, 960 Quyang county, province, and dates to the Northern Song Madison Avenue, 2nd floor) period. Other highlights include a pair of circa 18th century blanc Dalton Somaré’ s de chine Buddhist lions. (19 March-2 April; Iliad Gallery, 212 East exhibition ‘Early Indo- 57th Street) Buddhist Art’ will present art The ‘Ralph M. from the Indian subcontinent Chait Galleries Spring in the three rooms of The Exhibition’ will include Pace Gallery. The earliest various objects from works include a copper private collections, anthropomorphic figure including porcelain, from the Gangetic Plains hardstones and works dating to the 2nd millennium of art. One such object, BCE, while the period from from an American Shiva the 6th to the 11th century India, Uttar Pradesh, collection, is a Chinese is represented by Indian Gupta period, 5th century blue-and-white porcelain and Nepalese stone images Dalton Somaré charger from the of the Hindu deities Vishnu and Shiva. One image of Shiva, in Shunzhi/early Kangxi Charger pink sandstone, is from the Gupta period Mathura School of Uttar period painted with five China, Shunzhi/early Kangxi Pradesh (height 29 cm). Himalayan and Indian Buddhist bronzes Buddhist lions on the period, c. mid-17th century Ralph M. Chait Galleries include an 11th century, Pala period figure of the bodhisattva interior (diameter 51.5 Padmapani from northern India, in brass, silver and copper. (18-26 cm). (19-26 March; 724 Fifth Avenue, 10th floor) March; The Pace Gallery, 32 East 57th Street) MD Flacks continues its series focusing on ‘small treasures’ and scholar’s objects this spring with their show titled ‘Scholar’s Trays’. Trays were seen as an essential part of the scholarly ideal so venerated in China, and were used in the scholar’s studio as part

Tray China, 18th century MD Flacks of the rituals involving burning incense, drinking tea, calligraphy and painting. Seventeen examples from the 17th to the 19th century will be presented, in materials such as zitan, huanghuali, hongmu, longyan, brass, marble and burr, and in a variety of styles and shapes. Highlights include a 17th century foliate tray in huanghuali, and an 18th century rectangular marble tray (30 x 20.5 x 2.5 cm). (19-25 March; 32 East 57th Street, 20th floor) White glazed ceramics produced at various during the Tang to the Qing period will be on view at Cynthia Volk Asian Art in an exhibition Bowl aptly named ‘White on China, Northern Song period (960-1127) Cynthia Volk White: a selection of white

165 JADA features are stylistically related to the work of the Kei School sculptor Unkei. The emphasis of Yanagi’s gallery show ‘Kokon Following the success of the previous two group exhibitions, the Biannual: Spring 2011’ is on painting. A fragment of a Kamakura six member galleries of JADA join forces to present Japanese period handscroll from a masterpieces in a cohesive gallery show at the Ukrainian Institute collection in Japan, mounted (19-23 March). JADA president Leighton Longhi will present a as a hanging scroll, appears to pair of large screens attributed to Hasegawa Togaku, dating from be a self-portrait of the priest the first half of the 17th century and measuring more than 7 metres Myoe Koben, accompanied by in total. Typical of the grand Momoyama style created for ruling calligraphy. Another hanging scroll, in ink and colour on silk, by Suzuki Kiitsu, depicts a rooster, hen and chrysanthemums (128 x 104.5 cm). One of the artist’s largest works, it may have been a Rooster, Hen and Chrysanthemums tsuitate, a type of free-standing By Suzuki Kiitsu double-sided screen used as (1796-1858), 19th century Detail of Waves and Rocks Koichi Yanagi Attr. Hasegawa Togaku (1539-1610) a room divider. (16 March-14 Leighton Longhi April; 17 East 71st Street, 4th floor) warlords, the screens combine ink and colour on gold leaf in a In the JADA show, Erik Thomsen will focus on early Japanese panoramic seascape. Another highlight, Dragons in Clouds (c. folding screens and maki-e gold lacquer suzuribako writing boxes. 1830) is one of two recently discovered paintings by Katsushika An example of the former is a six-panel folding screen titled Hokusai on view in this exhibition, and dates from his mature Madake Bamboo by Bamboo Fence, from the Edo period (18th period – part of a series of dragon-and-cloud images the artist century), in ink, mineral colours, gofun and gold wash on paper seems to have executed annually as part of a religious exercise with gold leaf. His gallery during the Tempo era. exhibition ‘Golden Treasures: In bold contrast to Dragons in Clouds is Hokusai’s ukiyo- Japanese Gold Lacquer Boxes’ e­-style Young Beauty Holding her covers maki-e boxes from the Kitten, also newly discovered. Edo period up to the present Presented by Sebastian Izzard, day. Represented are natsume the circa 1805 portrait in ink and tea caddies, kogo incense colour on silk is signed Gakyo rojin boxes, tebako accessory boxes Hokusai ga, or ‘painted by Hokusai, and ryoshibako paper boxes. the old man mad about painting’. Natsume tea caddy Autumn Flowers by Bamboo The work is comparable in style Japan, Meiji period, c. 1900 Fence is a natsume in maki-e Erik Thomsen to Woman Looking at Herself in a sprinkled gold and gold foil on Mirror, a painting of the same date a black lacquer ground (6.8 x 6.8 cm). (16 March-28 May; 23 East in the Bigelow Collection at the 67th Street) Seated beauty Museum of Fine Arts, Boston. Izzard For the group exhibition, Mika Gallery will show Japan, Edo period, will also be showing an and Buddhist art, including a pair of 13th/14th century wood late 17th century -type porcelain figure images of the guardians Komainu and Shishi (each: height 67 cm). Sebastian Izzard of a seated beauty (height 28 cm). Such images traditionally graced the entrance of Shinto shrines. These figures, rendered in a style that mimics Highlights of Mika’s gallery exhibition ‘Japanese Religious Art’ Kambun era paintings and book illustrations, include a piece of kaen flame-style from the Jomon period, are thought to date from the 1670s and ’80s. an 11th century shinzo, or Among the oldest objects on view in the Shinto deity, and a 13th/14th JADA show is Judith Dowling’s haniwa century gold of the Buddha figure of a warrior (height 73.5 cm). This Amida, along with other, pre- earthenware funerary ritual object is highly 14th century Buddhist works. simplified in form, the torso in a pronounced Also highlighted is a 14th V shape, suggesting a man of great strength, century Negoro lacquer stem possibly a military ruler. table passed down through the A pair of Buddhist images in Japanese Kinpusen-ji Zaodo in Yoshino, cypress will be presented by Koichi Yanagi. Nara (30.6 x 32.7 x 32.7 cm). Haniwa warrior Dating from the 13th century, they depict (15-23 March; 595 Madison Stem table Japan, Kofun period, Japan, Northern and Southern Kannon Bosatsu (Mahasthamprapta) and 6th century Avenue, Fuller Building, 8th Courts period, 14th century Judith Dowling Seisho Bosatsu (Avalokiteshvara); the facial floor) Mika Gallery

166 Independents to create their own unique forms of expression. (19-26 March; Sebastian Izzard LLC, 17 East 76th Street, 3rd floor) Peter Rosenberg of Vallin Orientations Gallery and Robyn Turner Galleries has decided to exhibit at continue their tradition of exhibiting together. a private gallery, rather than at the Orientations Gallery will feature Japanese tea APA, to maximize his opportunities and sake accoutrements in cloisonné enamel, to meet out-of-town curators and silver, inlaid bronze and lacquer. A highlight collectors from the US and Europe among the inlaid vessels is an early 20th who, he notes, have usually left century pair of silver by Koshu for the town by the time the fair opens. In Miyamoto studio with a gold engraved sacred his exhibition ‘Asian Perspectives: phoenix design (height 29 cm). Collectors of Chinese Art and Antiques’, he will jade will not be disappointed this year with present ceramics and works of art Turner’s selection of Ming and Qing carvings, One of a pair of vases and a selection of both gilt- and but she will also show Chinese silver items, By Koshu, Taisho ungilt-bronze Buddhist sculpture. such as a silver chalice and mug both bearing period, c. 1915 Guandi Orientations Gallery Of note is a large Ming period China, Ming period the maker’s signature ‘Kwong Yuen’ (mug: stoneware figure of a seated Guandi (1368-1644) height 15.9 cm). The pieces reflect Vallin Galleries with an expressive face, decorated her long-term interest in Chinese in sancai (height 68 cm). (19-28 March; 5 East 82nd Street) silver. (19-28 March; The Carlyle Exhibiting at the same venue is Carole Davenport. Juxtaposed Hotel, 35 East 76th Street) with Rosenberg’s Chinese In their second joint exhibition works of art, her show ‘Asian of Chinese works of art from the Perspectives: Art of Japan’ will Qing period, Connie Tsang and include a selection of her signature Mark Powley will offer recent No masks, dating to the 16th and finds. Tsang’s offerings include an the 17th century. She will also be 18th century huanghuali carved Mug China, mid-19th century offering ink paintings by Kano brushpot from a private collection, Robyn Turner Sanraku and Hanabuso Itcho, of six-lobed cylindrical form in porcelain and pottery, wood the shape of a magnolia sculpture and 19th and 20th century flower (height 12 cm). A calligraphy by Nakahara Nantembo highlight of Powley’s is and Morita Shiryu. Highlighted is a figure of Shouxing, the Mizusashi an Edo period cloisonné mizusashi Chinese god of longevity, Japan, Edo period, 17th/18th century used in the tea ceremony (height in gold appliqué, from Carole Davenport 19.1 cm). (19-28 March; 5 East the 19th century (height 82nd Street, ground floor) 14 cm), which was ’s London Gallery will mount an exhibition of published in Spink &

Japanese ceramics at Sebastian Izzard’s gallery. featuring works Brushpot Son Ltd’s catalogue that span well over 1,000 years of history. ‘Forms Unbound’ China, 18th century Chinese Jewellery and welcomes viewers to explore a variety of ceramic types that, while Connie Tsang (1989, no. 66, p. representative of the periods they were created in, continue to Shouxing 36). (19-26 March; The China, 19th century resonate with and speak to contemporary audiences. Pottery and Mark Powley Carlyle Hotel, 35 East dogu heads of the Jomon 76th Street) period, Heian and Kamakura Danon’s exhibition of nine period vessels shaped by Qing period imperial carpets, elemental forces in the , woven in silk with copper and gold and consciously crafted threads is titled ‘The Secret of the of the Momoyama Golden Flower’ in reference to comprise the show. The the floral imagery on the carpets selection of works, including inspired by the eponymous an earthenware deep jar (44.8 Daoist classic guide to meditation x 45 cm), invites reflection techniques. The ‘golden flower’ on the unlimited potential of refers to a bright image or mandala , and showcases that the practitioner will see Kamegaoka-type deep jar the innovation of Japanese Japan, Final Jomon period artisans and their adaptation of The Golden Lotus (1000-300 BCE) China, Qianlong period (1736-95) London Gallery, Ltd (Tokyo) traditions from the continent Danon Gallery

167 at a certain point during meditation, and the carpet bearing the renowned Raku masters of the 17th motif becomes a symbolic transcendent vehicle between earth to the 20th century. Complete with and heaven. Illustrated is a piece from the imperial workshops of its original tomobako box is a black Xinjiang made during the Qianlong period and titled The Golden winter tea bowl by the ninth Raku Lotus (243 x 152 cm). (17-31 March; 24 East 64th Street) master Ryonyu (10.5 x 9.5 x 9.5 cm). Alan Kennedy returns to the The work was given the poetic name Fuller Building for Asia Week. ‘Nukumori’, meaning ‘warmth’, by A highlight among Kennedy’s Hounsai, the 15th generation head of Japanese costumes is a kosode Urasenke, in the 20th century. Works (predecessor of the kimono) dating Tea bowl on paper include 17th-20th century By Ryonyu (1756-1834), to the 1660s and featuring a pattern Edo period (1770-1811) scrolls, and a pair of eight-panel published in a woodblock-printed BachmannEckenstein screens by 19th/20th century master book of the same period. Another, Suzuki Shonen. (19-27 March; Nailya Alexander Gallery, Fuller 19th century furisode-style, kosode Building, 41 East 57th Street, (height 165 cm) was collected by 7th floor) a Swiss doctor who travelled to The exhibition ‘Guanyin: Japan in 1913, and came from a The Art of Compassion’ at Japanese private collection. Also Throckmorton presents twenty on view is a tea ceremony master’s wood images of the bodhisattva. robe made from paper and imported Kosode Collected over the past decade Japan, 19th century Chinese silk. (19-27 March; James Alan Kennedy in Europe, the US and Hong Goodman Gallery, Fuller Building Kong, the images range in 41 East 57th Street, #802, 8th floor) date from the Song to the In ‘Faces of the Samurai’, Barry Ellsworth and Shakudo Fine Ming period, such as a seated Arts will exhibit masks, polychrome example (height armour and helmets that 116.8 cm). (10 March-16 April; defined Japan’s warrior 145 East 57th Street, 3rd floor) culture from the 15th to the Lea Sneider will be Seated Guanyin 19th century. One featured showing Korean and Japanese China, Ming period (1368-1644) object is a mid-Edo period art, with a focus on 20th century Throckmorton okina somen, in iron, lacquer, and contemporary ceramics yak hair, silk and silver (22 x and textiles. The gallery’s 35 cm), which was featured featured Japanese artists Detail of Okina somen in Kazuo Iida’s Katchu-men include Shigeo Kubota, Japan, mid-Edo period Shakudo Fine Arts (Japan, 1991, p. 161). (19- who works in hand-spun 27 March; James Goodman sisal, and Tetsuo Kusama, Gallery, Fuller Building, 41 East 57th Street, #802, 8th floor ) who works mainly in TK Asian Antiquities will present ‘The Divine Dali , as can be seen in a Dreamstone Collection’, an exhibition of contemporary marble colourful wall hanging. (1- pieces by leading ‘master selectors’/artists, such as the ‘Running 31 March; open house by appointment; 211 Central Park West) Wall hanging Sundaram Tagore By Tetsuo Kusama (b. 1947), 2010 Gallery will present a Lea Sneider group exhibition, ‘Facing East’, of works that transcend cultural boundaries while reflecting ‘Running Deer Marble’ Eastern elements. The show represents artists of Korean, Indian, China, Dali Japanese, Vietnamese, and Uzbeki-Israeli origins. These works TK Asian Antiquities define an aesthetic language of East-West dialogue, featuring artists Anil Revri, Kim Joon, Nathan Slate Joseph, Sohan Qadri, Hiroshi Deer Marble’ (53.3 x 20.3 cm). There will also be an unveiling Senju, Robert Yasuda, Nhat Tran, Amina Ahmed, and Taylor of the first text in English to encompass the entire genre. Kuffner. Through their works, these artists struggle to create a Accompanying this exhibit is a display of recently acquired early sense of beauty that is universal through a wide range of mediums. Eurasian gold and Chinese works of art. (19-31 March; Fuller With the exception of Taylor Kuffner, all of these artists have Asian Building, 41 East 57th Street, Suite 1125) roots, yet are diasporic in nature. This duality between East and BachmannEckenstein’s exhibition ‘Japanese Ceramics & West attests to our globalized era and the nature of cross-cultural Works on Paper’ features tea bowls and incense containers by five dialogue. (4 March-2 April; 547 West 27th Street)

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