Category Archives: Exhibitions

Jade Buddha Temple shows thangka art

Shanghai Daily, By Bob Yang | March 21, 2017, Tuesday

SHANGHAI’S Jade Buddha Temple yesterday launched a free exhibition of thangka art and traditional Chinese paintings about Buddhism.

About 20 paintings from Tibetan Buddhism master LuoZangDanBa and renowned Buddhism painter Li Tang are being exhibited at the temple through to Sunday.

Visitors would be able to witness the cultural heritages and beauty of Tibetan Buddhism through the exhibition, a temple official said.

As the highlight of the exhibition, six original works of the medieval Tibetan art of thangka — minutely detailed paintings depicting Buddhist deities or symbols — from the master are being showcased.

LuoZangDanBa, who is also a national intangible cultural heritage inheritor, began to study painting in thangka style when he was 5 years old. Li, the other artist of the exhibition, is director of the Buddhism art and culture research center with Peking University.

Visitors can enter the temple via Jiangning Road in Putuo District to view the exhibition. No entrance ticket is required.

[link]

Where India and China Meet: Buddhist Art as Common Heritage

Stone tablet of the Buddha with two Bodhisattvas, 190cm by 100cm by 40cm, 582CE. Image courtesy of the Beijing Palace Museum.

Medium.com

Jinah Kim, Gardner Cowles Associate Professor of History of Art and Architecture, examines how an exhibition on Buddhist art at Beijing’s Palace Museum could establish the foundation for greater dialogue and understanding between India and China. This blog post first appeared in the Harvard University South Asia Institute’s “Faculty Voices” series, and has been lightly edited for the Fairbank Center blog by James Evans.

A first major loan exhibition of Indian art in Beijing was recently held in the majestic Meridian Gate tower of the Palace Museum of the Forbidden City (see a virtual tour of the exhibition here.) “Across the Silk Road: Gupta Sculptures and their Chinese Counterparts during 400 to 700CE” was an ambitious exhibition conceived by the senior curatorial fellow of the Palace Museum, Dr. Lou Wenhua, after his visit to India three years ago.

Fifty-six sculptures from nine Indian museums were on display against a red backdrop in one gallery, while two adjacent galleries were filled with over one hundred Chinese Buddhist sculptures against blue backdrop. Bringing this exhibition together was an impressive feat by the organizers in Beijing, which, of course, was not possible without collaborative efforts from many museum personnel and officers in India.


While the China-India bilateral relationship is not as rosy and warm as anticipated (i.e. India’s failed entry into the NSG at the Seoul plenary, as well as the China Pakistan Economic Corridor developments — part of President Xi Jinping’s Silk Road Economic Belt and the 21st Maritime Silk Road projects), the exhibition reminds us of the age-old connections between the two countries, notably activated and solidified through the transmission of Buddhism. It also opens up new possibilities for trans-regional connections in the future that may benefit tremendously from a mutual understanding of each other’s culture and history.

The time frame of the exhibition, from 400 to 700CE, is the period in which three Chinese monk-pilgrims, Faxian 法顯 (337-c.422CE), Xuanzang 陳褘 (602–664CE) and Yijing 義淨 (635–713CE), visited India. Their travelogues are enthusiastically mined as indispensable records for understanding the history of Indian Buddhism and the history of early medieval India, although they are at times unfortunately without any critical consideration of the Chinese monks’ own cultural prejudices and political motivations. The exhibition heralds “Gupta sculptures” as its main anchor perhaps unwittingly perpetuating a notion of the Gupta period (c. 320–550) as the “classical” or “golden” age of Indian Art, formulated during the early twentieth century. The selection is commendably wider in scope, however, in terms of the range of dates and the variety of iconography (from a circa third century Buddhist sculpture, to a circa fifth century Jaina stele, to circa seventh century Hindu sculptures).

The Palace Museum and the Forbidden City Cultural Heritage Conservation Foundation organized an international symposium to accompany the exhibition. I was invited to participate in it as an expert on Indian Buddhist art along with other foreign scholars from India and elsewhere (including the Fairbank Center’s Professor Leonard van der Kuijp). The three-day symposium was packed with speakers presenting on a variety of topics with about two thirds of papers on Chinese Buddhist sculptures of the period between 400 to 700CE. It was an exciting opportunity to learn about discoveries of new art historical materials from recent excavations.
On the India side, according to Dr. B. R. Mani, a respected archaeologist and the current director of India’s National Museum in New Delhi, a recent excavation at Sarnath, the celebrated pilgrimage site of Buddha’s first sermon, revealed material evidence for the hitherto-unnoticed existence of a sculptors’ workshop at the site. Many more new findings in China were shared with much enthusiasm and excitement. Chinese archaeologists seem to be discovering and excavating many more Buddhist sites and other related historical sites than ever before. The sheer amount of historical details and art historical evidence that emerge from these new excavations is incredible.

Continue reading

UM Museum Opens Photography Exhibit of Buddhist Caves

mogao-cave-north-wall-1943

The exhibit “Dunhuang through the Lens of James and Lucy Lo” is now open at the UM Museum.

Images from China illustrate artistic and architectural achievements

JANUARY 16, 2017 BY CHRISTINA STEUBE

OXFORD, Miss. – Photographs of the intricately painted Mogao and Yulin Caves in Dunhuang, China are on exhibit at the University of Mississippi Museum.

“Dunhuang Through the Lens of James and Lucy Lo” features photographs taken of the caves by the Los in the 1940s. The nearly 500 caves containing artwork are in the northwestern area of China along the ancient Silk Road and are a major Buddhist pilgrimage site. The caves, which served as spaces for meditation and worship, were painted between the fourth and 14th centuries.
The exhibit opened Jan. 10 in conjunction with the Southeast Conference of the Association for Asian Studies, held on the UM campus Jan. 13-15. The free exhibit runs through April 29, and an opening reception is set for 6-8 p.m. Jan. 31.

Joshua Howard, Croft associate professor of history and international studies and a Chinese historian, proposed this exhibit to the University Museum.

“These photographs have high artistic value,” Howard said. “James and Lucy Lo used natural light and often placed mirrors in the caves to create special lighting effects and create a sense of the caves’ spirituality.

“James Lo also experimented with his photo angles; for instance, shooting a 50-foot reclining Buddha from the vantage point of the head of the statue rather than from the feet looking toward the head. The result is a more intimate and serene shot of the Buddha. Other landscape photos they took give a sense of the harsh but beautiful desert terrain the caves inhabit.”
The collection of 31 black-and-white photographs is from the Lo Archive and the P.Y. and Kinmay W. Tang Center for East Asian Art at Princeton University. The Mogao and Yulin caves illustrate artistic and architectural achievements, as well as provide an intimate look at the history of Buddhism and other religions of the region.

Museum officials were excited about the opportunity to open the exhibit to conference attendees, said Robert Saarnio, museum director. The conference included workshops, panel discussions, lectures and film screenings of Asian poetry and literature, history, language, art, philosophy and politics.

“These are exactly the kinds of multidisciplinary and cross-campus partnerships that the museum seeks to foster and welcome, wherein great art and artifact content can be exhibited in such close correspondence to curricular, research and teaching endeavors,” Saarnio said.
The museum, at the corner of University Avenue and Fifth Street, is open 10 a.m.-6 p.m. Tuesdays through Saturdays.

[link]

Faculty Voices: Where India and China Meet

2-280x173Where India and China Meet: Buddhist Art Exhibition in Palace Museum, Beijing

By Jinah Kim, Gardner Cowles Associate Professor of History of Art and Architecture, Harvard University

Kim received a SAI Faculty Grant for her research on Indian painting.

A first major loan exhibition of Indian art in Beijing, China is currently held in the majestic Meridian gate tower of the Palace Museum (September 28, 2016- January 3 2017) of the Forbidden City (see a virtual tour of the exhibition here.) “Across the Silk Road: Gupta Sculptures and their Chinese Counterparts during 400 to 700CE” is an ambitious exhibition conceived by the senior curatorial fellow of the Palace Museum, Dr. Lou Wenhua, after his visit to India over 3 years ago. Fifty-six sculptures from nine Indian Museums are on display against a red backdrop in one gallery, while two adjacent galleries are filled with over one hundred Chinese Buddhist sculptures against blue backdrop. Bringing this exhibition together is an impressive feat by the organizers in Beijing, which, of course, was not possible without collaborative efforts from many museum personnel and officers in India.

When the China-India bilateral relationship is not as rosy and warm as anticipated (i.e. India’s failed entry into the NSG at the Seoul plenary, CPEC [China Pakistan Economic Corridor] developments—part of President Xie Jinping’s Silk Road Economic Belt and the 21st Maritime Silk Road projects), the exhibition reminds us of the age old connections between the two countries, notably activated and solidified through the transmission of Buddhism. It also opens up new possibilities of trans-regional connections for the future that may benefit tremendously from mutual understanding of each other’s culture and history.

The time frame of the exhibition, from 400 to 700CE, is the period in which three Chinese monk-pilgrims to India, Faxian (337-c.422CE), Xuanzang (602-664CE) and Yijing (635-713CE), visited India. Their travelogues are enthusiastically mined as indispensable records for understanding the history of Indian Buddhism and the history of early medieval India, at times unfortunately without any critical consideration of the Chinese monks’ own cultural prejudices and political motivations. The exhibition heralds “Gupta sculptures” as its main anchor perhaps unwittingly perpetuating a notion of the Gupta period (Gupta dynasty: c. 320-550) as the “classical” or “golden” age of Indian Art, formulated during the early twentieth century. However, the selection is commendably wider in scope in terms of the range of dates and the variety of iconography (from a circa third century Buddhist sculpture, to a circa fifth century Jaina stele, to circa seventh century Hindu sculptures). Continue reading

Secrets of Buddhist Art: Tibet, Japan, and Korea at the Frist

February 10 – May 7, 2017
Frist Center for the Visual Arts, Nashville, Tennessee

Jijang Bosal (Bodhisattva Kshitigarbha) and the Kings of Hell, Korea, late 19th or early 20th century, late Joseon Period (1392–1912). Colors and cloth. Newark Museum, Gift of Dr. and Mrs. John P. Lyden, 2001, 2001.75.1

Jijang Bosal (Bodhisattva Kshitigarbha) and the Kings of Hell, Korea, late 19th or early 20th century, late Joseon Period (1392–1912). Colors and cloth. Newark Museum, Gift of Dr. and Mrs. John P. Lyden, 2001, 2001.75.1

Related Programs
One-Day Educator Workshop: Secrets of Buddhist Art Thu, Feb 16, 2017
Tibet, Japan, and Korea all practice a form of esoteric or “secret” Buddhism. Called Vajrayana Buddhism, this form utilizes works of art that reveal a complex array of both human and divine figures. This exhibition showcases superlative works from the Newark Museum’s first-rate collection and will make its first appearance at the Frist Center, introducing a general audience to the dazzling aesthetics of Buddhist art and providing a basic understanding of these objects’ function within Buddhist practice.

This exhibition was organized by the Newark Museum.

[link]

THE PRICE COLLECTION: THE BUDDHA AND THE FLOATING WORLD

1472255680231JAPANESE AMERICAN CULTURAL & COMMUNITY CENTER
Los Angeles, CA

SUNDAY, SEPTEMBER 18 – SUNDAY, OCTOBER 16, 2016

This extraordinary exhibition was envisioned by world-renowned collectors, Etsuko and Joe Price. It features silk scroll paintings depicting the everyday life of the Edo period (1615–1868) and divine images from the Buddhist world with an ikebana flower arrangement installation by three ikebana schools – Ikenobo, Ohara-Ryu, and Sogetsu School.

FORCE OF STILLNESS at the Rubin Museum (NYC)

master__detail_carouselFORCE OF STILLNESS
FILM AND PERFORMANCE INSPIRED BY BUDDHISM
FRIDAY, NOVEMBER 4, AND SATURDAY, NOVEMBER 5

Rubin Museum of Art

Force of Stillness is a two-day festival bringing together a prominent group of international artists to highlight the significant influence of Buddhism on contemporary art.

The festival presents experimental films and performances that facilitate and transmit a complex range of meditative experiences while addressing topics such as visual colonization, queer performativity, alternate experiences of temporality, and experiments with meditative gestures in public.

Force of Stillness is curated by Amber Bemak

About the Artists

Amber Bemak teaches filmmaking at Southern Methodist University, and her creative work is based in experimental and documentary film, performance art, and curatorial practice. Bemak’s work focuses on the themes of Buddhist culture, performative explorations of the body in relation to political systems, and cross-cultural encounters in the context of globalization. Her feature and short films have played in numerous festivals internationally and have been seen at venues that include the Elizabeth A. Sackler Center for Feminist Art, SculptureCenter, and the European Media Art Festival. She has taught film theory and practice in India, Nepal, Kenya, Mexico, and the United States.

Vanessa Anspaugh is a choreographer and performance-based artist. Many of the questions that surround her work address the myriad relationships that exist in collections of groups and individuals, touching on tropes such as directorship, authorship, collaboration, collectivity, domination, emptiness, and love. Her work has been both commissioned and presented by Danspace Project, DTW, New York Live Arts, the Joyce Theater, the River to River Festival, BAX, the Sculpture Center, the Hessel Museum of Art, and Movement Research among others. She has had funded residencies through DTW, Mount Tremper Arts, Kattsbaan, the Mac Dowell Colony, LMCC, BAX, BOFFO, and Bard College. Continue reading