Asian Magazine, Spring 2017 by Asian Art Museum

SPRING 2017 The Asian Art Museum Membersâ&#x20AC;&#x2122; Magazine

ASIAN ART MUSEUM Chong-Moon Lee Center for Asian Art & Culture www.asianart.org 200 Larkin Street San Francisco, CA 94102 USA

Non-Profit Organization U. S . Po s t a g e P A I D Asian Art Museum of San Francisco

CALENDAR

FEATURED MEMBER EVENTS

New Member Welcome Tour Wednesday, Mar 1 10:30–11:30 AM Member Shopping Days Friday, Mar 3 through Sunday, Mar 5 10 AM–5 PM 20% off in the store and 10% off in Cafe Asia Tour, Talk & Tea: Mysteries of the Han Tuesday, Mar 7 2–4 PM

ALL MEMBERS

RHINO CLUB

DELUXE LEVELS

Rhino Club Art Roundup Sunday, Feb 19 10:30–11:30 AM Storytelling in the galleries followed by arts & crafts

Exhibition Opening: Tomb Treasures: New Discoveries from China’s Han Dynasty Wednesday, Feb 15 5:30–7:30 PM Open to Jade Circle ($3,000) and Nexus ($25,000) 7:30–9:30 PM Open to Friends ($500) and Patrons ($1,000)

Rhino Club Art Roundup Sunday, Mar 19 10:30–11:30 AM Rhino Club Art Roundup Sunday, Apr 16 10:30–11:30 AM

Tour, Talk & Tea: Mysteries of the Han Saturday, Mar 11 11 AM–1 PM

Rhino Club Art Roundup Sunday, May 21 10:30–11:30 AM

Tour, Talk & Tea: Jade: Stone of Heaven Tuesday, Feb 7 2–4 PM

Tour, Talk & Tea: Japanese Buddhism: It’s Not All About Zen Tuesday, Apr 4 2–4 PM

LUNAR SOCIETY

Tour, Talk & Tea: Jade: Stone of Heaven Saturday, Feb 11 11 AM–1 PM

New Member Welcome Tour Wednesday, Apr 5 10:30–11:30 AM

Member for a Day Sunday, Feb 12 10 AM–5 PM Enjoy free admission to participating museums throughout the Bay Area

Tour, Talk & Tea: Japanese Buddhism: It’s Not All About Zen Saturday, Apr 8 11 AM–1 PM

New Member Welcome Tour Wednesday, Feb 1 10:30–11:30 AM

Member Preview Day: Tomb Treasures Thursday, Feb 16 10 AM–5 PM Tomb Treasures Preview Party: Afterlife Thursday, Feb 16 7–11 PM Celebrate Tomb Treasures with a special party Free for Lunar Society members, $20 for members, $25 for non-members

New Member Welcome Tour Wednesday, May 3 10:30–11:30 AM Tour, Talk & Tea: Yes, You Can Take It with You Tuesday, May 9 2–4 PM Tour, Talk & Tea: Yes, You Can Take It with You Saturday, May 13 11 AM–1 PM

Craft Night Thursday, Mar 16 6:30–8:30 PM Make crafts with a Bay Area artist and enjoy craft beer Tales & Cocktails Thursday, Apr 6 6:30–7:30 PM Scintillating stories in the galleries followed by drinks and discourse Asian Art 101 Thursday, May 11 6:30–7:30 PM A crash course in Asian art without the pop quizzes

Curator-Led Tour of Tomb Treasures and Tea Reception Thursday, Feb 23 2:30–4:30 PM Open to Jade Circle Silver ($6,000) and above Preview Lunch Monday, Apr 3 11:30 AM–1 PM Enjoy curatorial sneak peeks of the year ahead Open to Patrons ($1,000) and above Annual Director’s Dinner Wednesday, May 10 6:30–9 PM Open to Jade Circle Gold ($10,000) and above Curator’s Choice Lecture Wednesday, May 24 6:30–7:30 PM Dive deep into Asian art with a curator lecture Open to Friends ($500) and above

GALA See website for details

Dancer Navia Natarajan depicts scenes from the Ramayana using the classical Indian dance style of Bharatanatyam. Photograph by Quincy Stamper.

Want more access?

Consider upgrading your membership. If you renew at a higher level before your current membership expires, we’ll add 12 months to the full amount of time left in your current membership cycle and upgrade your benefits immediately. For more information, call 415.581.3740 or email members@asianart.org.

SPRING 2017 /// ASIAN ART MUSEUM

ASIAN ART MUSEUM GALA THURSDAY, MAR 2

TABLE OF CONTENTS

SPRING 2017 /// VOL. VlI, ISSUE l The Asian Art Museum Members’ Magazine MAGAZINE STAFF Tim Hallman, Editor-in-Chief Kate Johnson Lafferty, Director of Membership and Guest Experience Kate Ritchey, Creative Director Amy Browne, Art Director / Graphic Designer Beth Tagawa, Writer / Editor Meghan Lee, Member Engagement Manager Published by the Asian Art Museum Chong-Moon Lee Center for Asian Art & Culture 200 Larkin Street, San Francisco, CA 94102 415.581.3500 · www.asianart.org · magazine@asianart.org Copyright © 2017 Asian Art Museum of San Francisco

MUSEUM HOURS: Tue–Sun. . . . . . . . . . . . . . . . . 10 AM–5 PM Thurs (Feb 23–Sep 28) . . . . 10 AM–9 PM Mon . . . . . . . . . . . . . . . . . . . . . . . . . Closed Visit www.asianart.org for additional closings and special hours.

Cover: Dancer figurine, unearthed from the Tomb of the King of Chu, Tuolan Mountain, Xuzhou, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Earthenware. Xuzhou Museum. Photograph © Xuzhou Museum. Back cover: Pendant in the shape of a dragon, unearthed from the Tomb of the King of Chu, Shizi Mountain, Xuzhou, Jiangsu. Western Han period, 2nd century BCE. Jade. Xuzhou Museum. Photograph © Xuzhou Museum.

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25 26 FROM THE DIRECTOR JAY XU — Our major exhibition Tomb Treasures presents a fascinating selection of recently unearthed Han-dynasty burial objects (see page 4). Not only will you marvel at the fantastically lavish (including the largest jade coffin yet to be discovered), you’ll be struck by the royals’ humanity — there’s nothing like a 2,000-year-old toilet to make the aristocrat who took it to the grave more relatable.

While it’s important to reflect on times past, there are also moments to consider the future. As we prepare to add a new special exhibition pavilion, we’re focused on how these expansion plans align with the museum’s crucial role as a catalyst for building cultural empathy (see page 20). All in all, this issue perfectly reflects our promise to visitors: to awaken the past and inspire the next. SEE YOU AT THE MUSEUM!

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In this issue, we also explore a more theoretical unearthing: digging up and examining memories. Emiko Omori’s new video poem, When Rabbit Left the Moon, delves into her childhood recollections of internment during World War II (page 14). And Kathy Z. Gillis, head of conservation, recalls conserving artworks damaged during the 1989 Loma Prieta earthquake (page 18).

ART BITES

NEWS FROM THE ASIAN ART MUSEUM

GOING PLACES, DIGITALLY Running late for an event in the Peterson Room but have no idea how to get there? Want to show off our famous bronze rhino to a friend but can’t recall what floor it’s on? There’s a new map for that. We recently unveiled a digital wayfinding kiosk near the information desk in South Court to help you get where you want to go. With the tap of a finger, this large, interactive touchscreen displays a detailed 3D map of the museum, along with information about all there is to see and do here. “Within three clicks or less we want people to find what they need and get oriented,” says Jonathan Lee, director of digital experience. With info available in English, Spanish and both traditional and simplified Chinese, as well as text-sizing and high-contrast options for the visually impaired, the touchscreen is user friendly for a broad audience. Eventually, Lee says, these devices will be on every floor. The maps will also be available in a future version of the museum’s mobile app with turn-by-turn directions (similar to Google Maps), so visitors can access the map on their smartphones as they navigate the museum. Other digital enhancements are planned throughout the museum, such as in-gallery tablets

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A docent tries out our new digital wayfinding kiosk. Photograph © Asian Art Museum. Major support for the museum’s digital initiatives is provided by Wallis Foundation.

that provide context for art, and even interactive 3D imaging of some of our masterpieces. “We’re creating digital experiences that complement and enhance the visitor journey by providing more and better information,” Lee says. “There’s more to come — on-site and online — in the months ahead.” n

ART BITES

TAKE A SEAT (LITERALLY) Like so many “aha” moments, this one was a smart solution to a persistent problem. A few museum staff members were lamenting the scarcity of seating for visitors in the galleries. Adding more benches would mean less space for art and would not ensure the seating was located where visitors preferred. But (aha!) what about seats that guests could carry with them? With that thought, Take a Seat was born. Portable chairs that are lightweight yet sturdy have been placed near the escalators and elevator vestibules on the second and third floors, as well as in the special exhibition galleries on the first floor. Visitors are invited to grab a chair and bring it with them through the galleries, resting in front of whatever artwork suits their fancy and returning the seat as they leave the galleries. “We’re really taking the idea of being a ‘museum for all’ to heart,” says Kate Johnson Lafferty, director of membership and guest experience. “That includes people with tired legs and sore feet! It’s tiring to walk around a museum, and if you’re tired, you’re apt to leave. We want people to linger in the galleries.” Longtime docent and storyteller Elizabeth Green Sah hails the seats as “brilliant.” At the outset of a recent tour, she recalls, a group of tourists, tired from sightseeing, expressed concern that they might not be able to be on their feet for long. “They wound up using the chairs and made it through the whole tour,” she says. “Some even stayed in the galleries longer.” n

Visitors are invited to carry our new sturdy, lightweight seats with them through the galleries. Photograph © Asian Art Museum.

WELCOME ABOARD In December, we welcomed a new chief philanthropy officer to the

tory of Music; the University of California, San Francisco; and the

museum. Or, to be more precise, welcomed her back.

University of San Francisco.

Seasoned development professional Nancy Sackson has

“Nancy’s strong history of developing philanthropic relation-

joined us at an exciting time. She leads fundraising programs to

ships in the Bay Area and beyond make her an ideal partner in

expand support for the museum’s exhibitions, programs and

engaging our community to support the next stages of the museum’s

institutional growth — a particularly important role as we prepare

advancement,” says Jay Xu, museum director. “We’re delighted to

to add a new special exhibition pavilion.

have her rejoin the team.” n

She’s been in a similar position with us before. Sackson served as the museum’s associate director of development and capital campaign manager from 1997 to 2001, helping guide fundraising efforts for the move from our former home in Golden Gate Park to SPRING 2017 /// 3

our iconic current home at Civic Center. “The Asian Art Museum is a quintessential San Francisco institution — one that I know and love,” Sackson says. “My aim is to enhance a culture of philanthropy that expands the impact and reach of the museum’s programs.” Sackson brings more than 20 years of nonprofit philanthropy experience, most recently at a diverse array of beloved local cultural and educational institutions, including the Marine Mammal Center in Sausalito; the Exploratorium; the San Francisco Conserva-

Nancy Sackson. Artwork: Collected Letters, 2016, by Liu Jianhua (Chinese, b. 1962). Porcelain, steel, and monofilament. Asian Art Museum, Acquisition made possible by the Society for Asian Art in honor of the Asian Art Museum’s 50th Anniversary, F2016.2. © Liu Jianhua. Photograph © Asian Art Museum.

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NEW DISCOVERIES FROM C H I N A’ S H A N D Y N A S T Y F E B 1 7 – M AY 2 8

ASIAN ART MUSEUM CURATED BY JAY XU, MUSEUM DIRECTOR AND CEO, AND FAN JEREMY ZHANG, SENIOR ASSOCIATE CURATOR OF CHINESE ART

DEEP WITHIN THE EARTH, A TOMB IS TOUCHED BY SUNLIGHT FOR THE FIRST TIME IN 2,000 YEARS.

Inside, a treasure trove of vast riches entombed during one of the most powerful and advanced civilizations of the ancient world — China’s Han dynasty. Archaeologists unearth dazzling royal secrets, including a jade suit, jade coffin and a set of ritual bronze bells that can still be rung. Stories of power, romance and immortality unfold, bringing the magnificent lives of Han aristocrats into focus. The objects also reveal an all-consuming ambition: to preserve the delights of this world for eternity in a grand afterlife.

Kneeling female figurine, unearthed from the Tomb of the King of Chu, Beidong Mountain, Xuzhou, Jiangsu (detail). Western Han period (206 BCE–9 CE), 2nd century BCE. Earthenware. Xuzhou Museum. Photograph © Xuzhou Museum.

A POWERFUL CIVILIZATION WITH INFLUENTIAL TRADITIONS The Han dynasty (206 BCE–220 CE) marked the first apex of Chinese civilization, laying the foundation for all of China’s later political systems. Historians rank the Han dynasty — along with the Roman Empire — as one of the most powerful and advanced civilizations of the ancient world. The dynasty’s cultural and artistic innovations continue to influence Chinese society today. The rare objects on display in Tomb Treasures were selected from more than 10,000 items recently unearthed from the giant mausoleum of Liu Fei, the king of Jiangdu, at Dayun Mountain, situated deep within a dormant volcano. Additional items in the exhibition come from mausoleums of the Chu kingdom and other elite tombs in the Jiangsu region of central coastal China. As the birthplace of Liu Bang (Emperor Gaozu, reigned 202–195 BCE), the founding emperor of the Han dynasty, Jiangsu was a vibrant center of wealth and culture. Han royalty there lived extravagantly, and, after their deaths, took an enormous amount of treasure to the afterlife in the form of elaborate mausoleums. The elite conceived of the afterlife as a continuation of their time on earth, with the same needs for basic subsistence, spiritual nourishment and entertainment. In Tomb Treasures, museum visitors will learn about the royal tombs designed as palatial abodes and richly furnished with goods that would be useful or enjoyable in the afterlife.

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In the following pages, discover the exhibition’s three thematic areas, each based on a Han saying that is inscribed on an artwork in the show.

Above: Ear-shaped cup, unearthed from the Tomb of the King of Chu, Shizi Mountain, Xuzhou, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Jade. Xuzhou Museum. Photograph © Xuzhou Museum.

The exhibition catalogue, edited by Jay Xu, Asian Art Museum director and CEO, includes new essays by experts in Chinese art and archaeology that enhance scholarship on the lifestyle and burial culture of the Han dynasty.

Available at the museum store and online.

Hardcover $29.95

(member price $27.85)

Visit store.asianart.org or call 415.581.3600

EVERLASTING HAPPINESS WITHOUT END While stories of power struggles, political turmoil and land division have been recounted in many exhibitions and publications on the Han empire, Tomb Treasures provides new insights into the daily rituals and personal relationships at the Han court — the pleasures of life people loved so greatly they spared no expense bringing them into the beyond. Artworks displayed in Osher Gallery demonstrate the luxuries, advanced technologies and elaborate decorations that courtly Han families enjoyed in their daily lives. Objects include furniture and vessels for food and drink made of jade, bronze, silver and gold, all meticulously decorated. This gallery also showcases different styles of oil lamps that emerged during this era, changing the fabric of life at court by extending the period of activity into hours of darkness. With innovative technologies and superb craftsmanship, lamps enabled people to enjoy banquets and music late into the evening, allowing a culture of entertainment to flourish. Additional objects illustrate power and ritual within the Han kingdoms, such as the earthenware warriors of the Chu king’s mausoleum, advanced weaponry and luxuriously decorated chariot parts that signify the kings’ wealth and status. A complete set of 19 bronze ritual bells is particularly rare, as use of such bells was rigidly regulated to reflect imperial hierarchy and ritual etiquette.

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Above: Lamp in the shape of a deer, unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Bronze. Nanjing Museum. Photograph © Nanjing Museum. Left: Niu bell from a ritual bell set, unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Bronze. Nanjing Museum. Photograph © Nanjing Museum. Right: Figure listening to music, unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Bronze inlaid with gold and silver. Nanjing Museum. Photograph © Nanjing Museum.

ETERNAL LIFE WITHOUT LIMIT INSIDE OR OUT? A COFFIN CONTROVERSY Discovered just over 20 years ago in the Jiangsu region’s Chu mausoleums, the jade coffin on display here was reassembled with an elaborate pattern of jade pieces decorating its exterior. In contrast, a coffin excavated more recently at Dayun Mountain, where most of the material in Tomb Treasures originates, was reconstructed Han royalty took ancient China’s fascination with jade to the extreme, believing it had the power to protect flesh from decomposing. In life, Han kings used exquisite jade pieces as eating utensils and decorative ornaments; they were eventually buried with an exorbitant amount of the material. Orifices of the body were even blocked with jade to preserve the soul within. On view in Hambrecht Gallery, three stellar examples, among many other works in jade, attest to this “jade worship”: a complete jade suit, a jade coffin and a jade dragon to adorn the coffin. Only a few gold-threaded jade suits, the majority of which have been looted or destroyed, are known to be in existence, making the complete gold-threaded suit on display in this exhibition extremely rare. You’ll also see the largest jade coffin anywhere in the world, an exceptional opportunity for you to study this magnificent example of Han jade burial culture.

with the jade pattern lining the inside — causing some scholars to argue that, since the stone is meant to protect the body, the Chu coffin’s jade should line its interior as well. Others believe that regional variations or the different ranks of the deceased could explain the inconsistent construction methods. Did the earlier archaeologists make a mistake? There’s no definitive answer so far, says excavator Li Yinde, since the records from the Shizi Mountain excavation do not provide sufficient detail. “Jade coffins are not made to look the same due to regional variations,” he explains. “Current evidence shows that jade could either be put inside to protect the deceased or outside to be visually attractive.”

Visit the exhibition and offer your take!

Above left: Pendant in the shape of a dragon, unearthed from the Tomb of the King of Chu, Shizi Mountain, Xuzhou, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Jade. Xuzhou Museum. Photograph © Xuzhou Museum. Above right: Coffin, unearthed from the Tomb of the King of Chu, Shizi Mountain, Xuzhou, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Jade, wood, and lacquer. Xuzhou Museum. Photograph © Xuzhou Museum. Left: Jade suit, Unearthed from Tomb 2, Dayun Mountain, Xuyi, Jiangsu (detail). Western Han period (206 BCE–9 CE), 2nd century BCE. Jade and gold. Nanjing Museum. Photograph © Nanjing Museum.

ENDURING REMEMBRANCE WITHOUT FAIL

In Lee Gallery, intimate items — such as toiletries, mirrors, basins, incense burners and even a phallus — invite you into the interior spaces of the court to explore its mystique. Han elite emphasized bathing for both ritual and personal hygiene, and the court provided one official day for bathing after every five working days. The entirety of a personal toilet ritual can be reconstructed from the objects on view: incense burners and lamps, mirrors and makeup boxes, and even an actual toilet found in the Tuolan Mountain mausoleum. Through these items, we gain a vivid understanding of the importance of personal hygiene among the Han elite. Of special note in this gallery are the details of some women’s lives at court, which are not typically well recorded in historical texts. One relic is a particularly fascinating document of the enduring attachments within courtly relationships. Given in pairs and meant to be united by two halves of a couple, the matching inscriptions on silver “forget-me-not” belt hooks on display in Tomb Treasures testify to a specific relationship, connecting the theoretical notion of their use with concrete historic individuals. They also inspire a mystery: Were the two halves reunited after the lovers’ deaths? Or did the concubine, found buried with both hooks, die having fallen out of favor with the king? Without these kinds of archaeological finds, such fascinating aspects of the private lives of men and women would be lost forever.

Tomb Treasures: New Discoveries from China’s Han Dynasty is organized by the Asian Art Museum of San Francisco and the Nanjing Museum. Presentation is made possible with the generous support of The Bernard Osher Foundation, Diane B. Wilsey, The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, United, E. Rhodes and Leona B. Carpenter Foundation, Warren Felson and Lucy Sun, Angela and Gwong-Yih Lee, and Fred Levin and Nancy Livingston, The Shenson Foundation, in memory of Ben and A. Jess Shenson. Media sponsors: San Francisco magazine, Sing Tao Daily, World Journal.

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without having the chance to present her token of affection, perhaps

Top left: Belt hook in the shape of a dragon, unearthed from Tomb 12, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Silver. Nanjing Museum. Photograph © Nanjing Museum. Top right: Cosmetics box set, unearthed from Dongyang city, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 1st century BCE. Lacquer. Nanjing Museum. Photograph © Nanjing Museum. Above: Phallus, unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Bronze. Nanjing Museum. Photograph © Nanjing Museum.

PUBLIC PROGRAMS

BODY CONSCIOUS

PUBLIC PROGRAMS DELVE INTO DEATH

Some may think the topic morbid, others grim, and for some, the very mention would be considered inauspicious. But it’s a thought that can’t help but creep into your mind when viewing Tomb Treasures: What happens to us after we die? Rather than shy away from this difficult subject matter, the museum will present a variety of public programs that address burial practices and concepts of the afterlife. “We wanted to take death and the rituals around it during the Han dynasty, and look at how these practices are being approached now,” says Allison Wyckoff, the museum’s manager of public programs. The centerpiece of the programming will be the Apr. 27 public conversation “Reviving the Environment: Ways to Honor the Dead and Living,” which will bring together leaders who are considering innovative ways of handling the human body after death. Katrina Spade, founder of the Urban Death Project in Seattle, has proposed a revolutionary concept: facilities that turn bodies into soil. Over several weeks, bodies become organic material that loved ones can take home to fertilize a garden or donate to a public park — a more environmentally friendly use of space than a graveyard. Spade will be joined by Karla Maria Rothstein, director of Columbia University’s DeathLAB (affiliated with the Graduate School of Architecture, Planning and Preservation), which develops design strategies aimed to revolutionize how cities accommodate the dead. A series of projects, for example, envision civic space illuminated by a shifting constellation of individual memorial lights fueled by energy “latent in the human body after life expires.” The rather mature topic of the afterlife will be handled in a 10 /// ASIAN ART MUSEUM

child-friendly way on Family Fun Days (every first and third Sunday, from March through May), with art-making activities that invite guests young and old to consider the questions: What makes a good life? What would you take with you into the afterlife? To root these ideas in the context of the exhibition, Fan Jeremy Zhang, senior associate curator of Chinese art, will give a talk on Saturday, Apr. 22, about Han practices of honoring the dead and extending a person’s spiritual life. “We’re using this exhibition as a jumping-off point to chalAbove: Katrina Spade. Photograph by Mike Bellame. Below: Karla Maria Rothstein. Photograph courtesy of Karla Maria Rothstein.

lenge and perhaps change the ways people think about death,” Wyckoff says. n

PUBLIC PROGRAMS

TOMB TREASURES PREVIEW PARTY

AFTERLIFE

Celebrate life … and the afterlife. Live it up and get down to the sounds of a swinging New

THURSDAY, FEB. 16 / 7–11 PM

Orleans-style brass band and tunes spun by DJ Proof. Stop by edgy education stations,

On-site: $20 for members/students;

including special guest Good Vibrations, and pop-up bars serving craft cocktails and beer.

$25 general admission

Need to cool down? Head into the galleries and preview our new feature exhibition Tomb

Online (through Feb 14):

Treasures, a trove of fascinating objects buried with Han-dynasty royals to ensure a grand

$15 for members/students, $20 general

afterlife. Savor the art, music and mystical vibes while imagining what awaits in the next world.

Free for Lunar Society members

Join the Lunar Society and Save! Calling all art lovers who like to party. Save big with this special VIP package: For $139, enjoy 12 months of membership at the Member + Lunar Society level, which includes unlimited museum admission for two and invitations to exciting evening events. Plus, get two free tickets to the Afterlife party and a free signature cocktail or beer in the exclusive pop-up Lunar Lounge. n

Private Tours Bring Art to Life

Bring your friends and family to explore Tomb Treasures with a private, docent-led tour. Members enjoy a 20% discount on the docent fee. (Regular price $125 / member price $100 per tour for up to 20 people.) n

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Mix’d Ingrdnts Dance Company performs at one of our annual parties. Photograph © Asian Art Museum.

PUBLIC PROGRAMS

HEAR THEM RING

MAR. 19, APR. 16 AND MAY 14 12 AND 2 PM Free with museum admission

The Center for New Music curates this three-part series with Gamelan Encinal and Pet the Tiger, who will perform lilting melodies on a replica of the rare bronze bell set featured in the Tomb Treasures exhibition. Mark your calendar — these 30-minute performances will be your only chance to hear the sounds that delighted King Liu Fei so much that he wanted the bells buried with him for all time. n

Bell set (detail), unearthed from Tomb 1, Dayun Mountain, Xuyi, Jiangsu. Western Han period (206 BCE–9 CE), 2nd century BCE. Bells: bronze; stands: lacquer and silver. Nanjing Museum. Photograph © Nanjing Museum.

IN REMEMBRANCE Former Asian Art Commissioner Elaine E. Connell, a devoted friend of the museum for almost four decades, passed away last December. In 1993, Connell, who was passionate about arts education, founded our popular Storytelling Corps, a ground-

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breaking program for its time and one that continues to be cherished. Along with her late husband Jim, she also gifted dozens of works to the museum’s collection of Southeast Asian art. Her keen understanding of how to move hearts and minds has influenced nearly every aspect of the museum and has helped make us who we are today. n Elaine Connell at the Art of Adornment Reception, 2012. Photograph by Jonathan Fong.

PUBLIC PROGRAMS

BUILDING ON OUR STRENGTHS

NEW SERIES EXPLORES CONTEMPORARY ARCHITECTURE OTHER THURSDAY NIGHT PROGRAMS INCLUDE: Artists Drawing Club: Artists curate creative one-time-only happenings.

Billie Tsien (standing, left) of Tod Williams Billie Tsien Architects | Partners will discuss her work at the museum on Mar. 30. Photograph by Chris Sturman.

If you don’t automatically think of architecture when you think of the museum’s collection, you’re not alone. But you should, says Marc Mayer, senior educator of contemporary art. “So much of our collection speaks to design and architecture in a clear way, but we don’t emphasize the architecture component,” Mayer says. “I want to diversify our audience’s notions of the contemporary in Asian art and culture.” Through a collaboration with Jonathan Massey, dean of architecture at California

Tasting Menu: Foodie leaders share their culinary philosophies — and a taste of their cuisine. Community Partner Program: Local nonprofits partner with the museum on events that amplify important issues. Lunar Society: Includes Asian Art 101, Craft Night and Tales and Cocktails. Visit www.asianart.org/thursday nights for details.

College of the Arts, Mayer will use the museum as a lens to consider architecture. This new lecture series will take place from February through April on select nights during the museum’s 2017 Thursday night season (Feb. 23 through Sept. 28). Major Asian and Asian American architects will discuss their projects, influences and ideas, showcasing trends in Asian architecture and the current building boom in Asia and beyond. First up: Award-winning Korean architect Minsuk Cho, founder of MASS Studies, an architecture firm in Seoul, will share his dramatic, often abstract design aesthetic designing the Barack Obama Presidential Center, will speak on Mar. 30.

San Francisco Unified School District Arts Festival APR 29 – MAY 7

“The Bay Area is a global hub for innovation in technology and design — a place

This spring, we’re hosting the 31st an-

that prototypes future ways of working and living,” says CCA’s Massey. “Our archi-

nual San Francisco Unified School

tects and interior designers are deeply involved, and top architects from around

District Arts Festival, a nine-day cele-

the world are getting into the game as well. Through this series, we aim to broaden

bration of student creativity featuring

public awareness of leading-edge architecture both here and around the world.”

art, music, drama, dance and more

The series also coincides with the museum’s own plans to embark on an architectural journey, helmed by Thai architect Kulapat Yantrasast of wHY: the addition of a new pavilion for special exhibitions. n

by pre-K through 12th grade students from nearly 100 local schools.

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on Feb. 23. Billie Tsien, whose studio designed Asia Society Hong Kong and is

MARK YOUR CALENDAR!

ON VIEW

WHEN RABBIT LEFT THE MOON

A VIDEO POEM BY EMIKO OMORI

FEB 19–26, 2017 2ND FLOOR | TATEUCHI GALLERY

On Feb. 19, 1942, just over two months after the bombing of Pearl Harbor, President Franklin D. Roosevelt signed Executive Order 9066, empowering the Secretary of War to designate military areas from which “any or all persons” could be excluded. This action cleared the way for 120,000 people of Japanese ancestry (more than twothirds of whom were American citizens) to be interned in remote camps in isolated parts of Alaska, Arizona, Arkansas, Colorado, California, Hawaii, Idaho, Utah and Wyoming until after the war had ended. Communities in Latin America and the Caribbean met a similar fate. As a young girl, filmmaker Emiko Omori was incarcerated with her family at the Poston Relocation Center in Arizona. Her new video poem about the internment experience, When Rabbit Left the Moon — marking the 75th anniversary of Executive Order 9066 — will be on view exclusively at the museum for one week only. Omori draws on some of the archival images used in her award-winning 1999 documentary memoir Rabbit in the Moon. The video opens with vintage family photos and home movies of joyful picnics and seaside leisure. These images soon give way to those of an uprooted community: hastily packed suitcases and trunks; men, women and children loaded onto railcars and buses; and vacated storefronts. Contemporary footage of a journey into a harsh landscape is interspersed as the story of life in the camps unfolds through images and excerpts of official documents. Without names, dates or locations, this collage provokes many open-ended questions. “This film is an homage to the generation of my parents, the Issei [first generation], to the vibrant prewar American Japanese community that never recovered from that violation, to the hopes and dreams that were torn away, and to the legacy of suffering that

Above and right: When Rabbit Left the Moon, by Emiko Omori (American, b. 1940). Single-channel digital video with sound, 14 min. Courtesy of the artist. © Emiko Omori.

haunts us,” Omori says. “Sorting this out has taken me a long time — almost 75 years. When Rabbit Left the Moon is as close as I have come.” n BY KARIN OEN, ASSISTANT CURATOR OF CONTEMPORARY ART

MEET THE ARTIST

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When Rabbit Left the Moon: Stories of the Past and Present SATURDAY, FEB 25 SAMSUNG HALL 1–3 PM

Filmmakers Emiko Omori, Chizu Omori and Satsuki Ina, and journalist Nancy Ukai Russell will share their memories through storytelling and heirlooms. Bring your own family heirloom or cherished object to share your personal stories and consider the significance of remembering the past. When Rabbit Left the Moon is organized by the Asian Art Museum.

ON VIEW

Through paintings, prints and textiles from the museum’s collection, Saints and Kings explores Sikh community identity, outlining its religious traditions, history and connection to California. The philosophy and practices taught by the saint Guru Nanak (1469–1539) and his successors form the core of Sikh identity. It is further influenced by the historical

SAINTS AND KINGS: ARTS, CULTURE, AND LEGACY OF THE SIKHS

memory of India’s Sikh kingdoms established in the 1800s and by broader aspects of South Asian culture. The exhibition’s three themes demonstrate these ideas.

MAR 10–JUN 18, 2017 2ND FLOOR | TATEUCHI GALLERY

The first focuses on the charismatic personality, life and teachings of Guru Nanak. The second explores artistic and cultural creativity during the Sikh kingdoms, founded by the dynamic Maharaja Ranjit Singh (1780–1839) and continued by later royal patrons. Portraits on display reflect how the Sikh kingdoms under British colonial rule after 1858 negotiated new expressions of their traditional autonomy in a changed world. The third section draws attention to the Sikhs’ special connection to California. The Sikhs are among the earliest Indian immigrants to North America, having arrived on the West Coast in the early 1900s. They have been an integral part of their local communities for over a century and today occupy leading roles in technology and other business sectors. Through an illustrated timeline, this exhibition delves into an important story that has shaped the Bay Area’s diverse social and immigrant history. n BY QAMAR ADAMJEE, MALLAVALLI ASSOCIATE CURATOR OF SOUTH ASIAN ART AND ASSOCIATE CURATOR OF ISLAMIC ART Saints and Kings: Arts, Culture, and Legacy of the Sikhs is organized by the Asian Art Museum. Image: Guru Nanak, approx. 1770–1800. India; probably Lucknow or Faizabad, Uttar Pradesh state. Opaque watercolors on paper. Asian Art Museum, Gift of the Kapany Collection, 1998.60. Photograph © Asian Art Museum.

SPRING 2017 /// 15

The Asian Art Museum is able to present exhibitions like Saints and Kings because it is home to the largest collection of Sikh art in the United States. In fact, it’s the only Western museum to have a gallery dedicated to Sikh art, thanks to the generosity of Dr. Narinder Singh Kapany and Satinder Kaur Kapany, who donated their art collection. Satinder Kapany passed away last year, and we acknowledge her legacy with fondness and gratitude.

ON VIEW

A JOURNEY INTO THE GREAT UNKNOWN OPENS FEB 28, 2017 3RD FLOOR | GALLERY 5

16 /// ASIAN ART MUSEUM

A Journey into the Great Unknown is organized by the Asian Art Museum. Portrait of the Artist (detail), 2016, by Shahzia Sikander (Pakistani, b. 1969). Suite of four etchings and 1 colophon, Edition 34 of 40, APs. Asian Art Museum, museum purchase, R2016.171.1-.5. © Shahzia Sikander. Photograph © Asian Art Museum.

“Energy sparked by creativity is full of potential.” So begins artist

painting traditions, Mi’raj is a “metaphor for the realm of the imag-

Shahzia Sikander’s account describing the sense of exploration and

ination,” according to Sikander.

excitement sparked by her recent collaboration with the Pulitzer prize-winning playwright, novelist and screenwriter Ayad Akhtar. Both Pakistani Americans, Sikander and Akhtar have incorporated their Muslim heritage into their separate practices in ways that challenge mainstream perceptions of American-Muslim identity.

“The interest in using Mi’raj as a point of departure for this collaboration arose from my conversations with Akhtar about the Prophet, and the rich and complicated heritage he represents for the community,” she writes. In the colophon, Akhtar describes the Mi’raj as “the fulfillment

This spring, the result of their original collaboration will be on

of any artist’s deepest longing: to have made a journey into the

view in our South Asia galleries. Entitled Portrait of the Artist, the

great unknown — to have seen the unseeable — and to return

work, a suite of four etchings and a related colophon written by

to the world as we know it with the capacity to express the

Akhtar, explores the theme of Mi’raj — the mystical night journey of

inexpressible.” n

the Prophet Muhammad. A powerful theme in Persian and Indian

BY KARIN OEN, ASSISTANT CURATOR OF CONTEMPORARY ART

ON VIEW

Female deities and religious practitioners play a crucial role in the spiritual economy of Himalayan Buddhism. Some, like the Tibetan queen Yeshe Tsogyal, aided powerful lamas (Buddhist teachers) in the creation and dissemination of their teachings. Not only did Yeshe Tsogyal serve as empress, she was also the female partner or “seal” (mudra) of the famous Padmasambhava, the sorcerer who established Buddhism in Tibet in the eighth century.

THE FIERCE FEMININE: WARRIOR WOMEN AND POWERFUL PARTNERS IN HIMALAYAN BUDDHISM OPENS APR 11, 2017 3RD FLOOR | GALLERY 12

The Fierce Feminine features a series of artworks that reveal the importance of female figures like Yeshe Tsogyal. They have been selected to give visitors a sense of the range of religious functions that women — both earthly and heavenly — fulfill in Himalayan Buddhist traditions. For example, the Buddhist deity Red Kurukulla helps devotees meditating upon her to secure love: a cause with timeless appeal. Red Naro Dakini, a meditation deity, may look like Kurukulla, but visitors can recognize her by her three-headed staff (khatvanga) — a symbol of the Buddhist philosophy of impermanence. One of Naro Dakini’s most important functions involves the decoding of texts called “hidden treasures.” These are thought to have been hidden by Padmasambhava for rediscovery at just the right moment, like divinely ordained time capsules. Sitashamvara is another kind of deity entirely. Here, the main figure is a male, while his female counterpart is red Vajra-yogini. She is in this capacity his “seal,” which allows meditating lamas to realize non-duality while fully embodied, that is, during mystically tinged sexual union, when partners are “sealed” as a single being or form. One of the most stunning female deities in the SPRING 2017 /// 17

Himalayan Buddhist pantheon is Palden Lhamo, whose name means “the luminous goddess.” This blue-colored deity arrives in a flood of blood, the righteousness of her unyielding gaze mirrored in the flame-like curls that surround her. Eerily, the blood belongs to the son she killed for his opposition to Buddhism. His flayed skin is her saddle blanket; such is her devotion to the Buddhist path, or dharma. n BY JEFF DURHAM, ASSISTANT CURATOR OF HIMALAYAN ART

The Fierce Feminine: Warrior Women and Powerful Partners in Himalayan Buddhism is organized by the Asian Art Museum. The Buddhist deity Naro Dakini (detail), 1700–1800. Tibet. Ink and colors on cotton. Asian Art Museum, The Avery Brundage Collection, B60D8+. Photograph © Asian Art Museum.

BEHIND THE SCENES

PICKING UP THE PIECES

AN ART CONSERVATOR’S LOMA PRIETA STORY The musicians’ faces, etched in russet-colored sandstone nearly

off the wall. It jumped off the mount and landed face up on the floor.

1,000 years ago, are serene, at peace. But the scene in the

You wouldn’t expect that of an object that weighs so much.”

gallery is chaos. The Thai lintel, depicting a lively performance, has fallen to the floor, surrounded by shards and piles of dust, with a huge section — four unfortunate entertainers — snapped clean off.

“The force with which it hit the floor,” she wrote in her damage report that day, “caused areas of dust to strongly adhere to the floor.” Knowing where fragments landed can help the conservator who

This is the scene Kathy Z. Gillis encountered at the Asian Art

repairs the piece understand how to put it back together. So Gillis

Museum on Oct. 18, 1989, the day after the 6.9 Loma Prieta

prepared meticulous notes and a sketch of the scene (this was

earthquake devastated the Bay Area.

before digital photography), then carefully bagged and labeled

An intern at the time, Gillis is now the museum’s head of con-

each piece, down to the piles of dust.

servation. And the artwork massively damaged that fateful day has

For a week, she spent long days helping with recovery efforts.

been restored — thanks to experts like Kathy — and is on display in

“Even as an intern I felt like I was doing something good in the

our Southeast Asian galleries.

world, that it was a public service because one more skilled person

That morning, Gillis called her office (her “paying” job at the time) to say she wouldn’t be coming in — she’d be at the museum.

was on hand to deal with the crisis,” Gillis says. “It was an experience not many people get.”

“They seemed surprised, but I considered conservation my real

Since 1989, a lot has changed for the museum. In 2003, the

job, even though I was only a volunteer,” says Gillis, who already

museum moved to the former home of the San Francisco Main

had extensive internship experience. “I knew they could use the extra

Library. It’s now considered one of the city’s safest spots during

pair of hands of someone who knew how to handle art.”

an earthquake, after millions of dollars were invested in structural

The atmosphere at the museum was somber — staff members

upgrades, including the installation of base isolators, thick walls

were bereft over the damages — but she remembers being impressed

and a moat around the building’s perimeter to accommodate sway

at the efficient and well-orchestrated emergency response plan.

during a seismic event.

When Gillis saw the lintel, she was shocked. “It didn’t just fall

18 /// ASIAN ART MUSEUM

It had cracked into two large pieces, with many smaller shards.

Following Loma Prieta, the museum also hired a mountmaker

BEHIND THE SCENES

who specializes in devising custom mounts that protect art from damage without compromising aesthetics (they’re often meticulously crafted to blend in with the art). And decades after Gillis gained this experience in emergency response, she came back in 2014 to lead the conservation department. After she was offered the job, she paid a visit to the lintel, which was conserved in 1991. “It looks great,” she says. “But we’re not trying to deceive an expert that it was never broken. If you were to look at the piece at six inches, you can probably see the repair, but from six feet, it’s not obvious.” Gillis says her time at the museum after Loma Prieta affected the way she has practiced her work ever since. “This experience heightened for me the idea that you need to prevent damage rather than fix it after it’s happened, so I’m probably a little overprotective, always thinking of the worst-case scenario,” Gillis says. “So much of our collection has survived into the 21st century, sometimes thousands of years, in one piece. If something has made it this far, we certainly need to make sure it doesn’t get damaged on our watch.” n Above: Kathy Z. Gillis, now the museum’s head of conservation, catalogues the damage to a Thai lintel on Oct. 18, 1989, the day after the Loma Prieta earthquake. Opposite: Lintel with dancers and musicians entertaining a nobleman, approx. 1075–1125. Northeastern Thailand. Stone. Asian Art Museum, The Avery Brundage Collection, B72S3. Photographs © Asian Art Museum.

WILL YOUR ART BE SAFE IN A QUAKE? Are you prepared for an earthquake? Kathy Z. Gillis, our head of conservation, recommends taking these precautions at home to prevent quakes from damaging your artworks: • Heavy, tall furniture, such as bookcases, china hutches and storage (preferably to studs, not dry wall). • Place fragile items as far back on shelves as possible. Ideally, add an inert, microcrystalline wax (available online) to the bottoms of ceramics or glass to reduce movement.

prevent contents from spilling out. • Add lips to shelves to prevent objects from “walking” off. Edge restraints, such as wooden moldings on bookshelves, can be helpful. • Metal mounts or plastic clips can be attached to the wall to stabilize hanging art.

• Avoid hanging heavy pictures or mirrors over beds or seating. If you must, use heavy, strong, locking picture hooks to prevent items from jumping off hangers during a quake. • Document, in the form of photographs, fragile artworks in case you need to file an insurance claim or repair an artwork. n

SPRING 2017 /// 19

racks, should be bolted to walls

• Attach latches on cabinet doors to

MUSEUM NEWS

BUILDING CULTURAL EMPATHY

A MESSAGE FROM THE DIRECTOR

Last fall, in the midst of the heated election season, I was deeply troubled by expressions of exclusion and prejudice surfacing across the country. I sent a message to museum staff, reminding them that, no matter the election results, our work is more relevant than ever. The message read, in part:

As a museum of Asian art, representing art and cultures of 60% of the world’s population, what role can we play in this pivotal moment for human relations? For one, we should make it clear that the Asian Art Museum stands firmly on the side of inclusion, global consciousness and cultural empathy. We invite all to explore the differences and the similarities between people, and between cultures, and to celebrate how these values are reflected in art from ancient times to today.

20 /// ASIAN ART MUSEUM

Below: Storytellers bring art to life for young visitors. Photograph © Asian Art Museum. Right: Children perform a traditional dance during the popular annual Lunar New Year celebration. Photograph © Asian Art Museum.

Can an art museum engender kinder and more respectful human interactions? Can it foster empathy and reduce hate? I believe our museum absolutely can.

MUSEUM NEWS

These ideas are deeply rooted in our institution’s DNA, dating back

unfamiliar. The Artists Drawing Club, an ongoing series that invites

to June 1966, when the museum opened. Avery Brundage, who

artists to use the museum as a platform for their work, has featured

donated his art collection to launch the museum, did so with the

Eliza Gregory’s Testimony, which shares voices of newly arrived

hope that a museum dedicated to Asian art would support positive

immigrants and refugees, and Hayv Kahraman’s Sound Wounds,

relations between the U.S. and Asia.

a haunting, immersive narrative of her experiences as an Iraqi émi-

“This project presents an opportunity for San Francisco and its

gré. Tasting Menu introduces visitors to new ideas through food,

people to become leaders in a search for new understanding, so

and our multiple annual cultural celebrations — including Korea

desperately needed, for a bridge of international knowledge and

Day, Japanese Bell-Ringing, Lunar New Year, Fil-Am Day — invite

respect,” he said. “This will be San Francisco’s contribution to a

everyone to share in traditions as meaningful as they are festive.

happier and more peaceful world.” This view was prescient. As America becomes increasingly connected to Asia, resulting in positive cultural exchange but also tensions and divisive political rhetoric, I’m proud of the work we do to encourage understanding of perspectives other than our own.

Through such diverse projects, we connect visitors to cultures that may, on the surface, seem impossibly distant or different and, in doing so, open minds. My message to staff, which many shared with their networks, struck a chord. Words of support and appreciation poured in from

Take, for example, our current special exhibitions. Koki Tanaka:

close to home and around the country, including more than 750

Potters and Poets, in which Tanaka brings together strangers to

social media responses. I’m uplifted by the fact that my convictions

create art together, is a study in cooperation and open-minded-

are echoed in the hearts and hard work of so many passionate

ness, and of the democratic process itself. And The Sculptural

individuals.

Turn celebrates a new generation of women artists in Japan who

As this country embarks on a new chapter in its history, so

are breaking barriers in the traditionally male-dominated field of

does the museum. Later this year, we’ll move forward with plans

ceramics.

to build a special exhibition pavilion and enhance our education spaces, allowing us to share more art and serve 50,000 school-

foundation of Chinese culture as we know it, offering a way

children each year — a particularly encouraging thought. Rather

of considering the country beyond the political and economic

than blueprints or renderings, the true guide for these plans will

discourse that dominates the airwaves. And Saints and Kings

be the goal of building cultural empathy.

delves into Sikh identity, as well as the community’s deep and

We hope you’ll continue to think of this museum as a safe place

longstanding connections to California, shedding light on a religion

for discovery — of insights, beliefs, values and, of course, aesthetic

sometimes conflated with Islam and revealing that it has roots closer

beauty. We don’t think it’s too farfetched to believe that, together,

to home than some might realize.

as envisioned 50 years ago, we are creating a happier and more

Our public programming also exposes audiences to the potentially

peaceful world. n

SPRING 2017 /// 21

Our upcoming exhibition Tomb Treasures introduces the

NEWLY ACQUIRED

TEXTILE GIFT TRANSFORMS MUSEUM COLLECTION

We tend to view textiles in museums as two-dimensional objects, but most were intended as wrappers. The inherent nature of cloth gives it the ability to fold, twist and breathe. Textiles can conceal a gift, flutter as a banner, or decorate a temple. But most often it is the human body that becomes a canvas, and the textiles become markers of a person’s age, status and self-expression. For these reasons, they can provide a great deal of cultural insight. Four years ago, we had the pleasure of displaying a selection of Indonesian batik textiles from the collection of Joan and M. Glenn Vinson. Batik: Spectacular Textiles of Java showcased one of the finest private collections of this intricately patterned textile tradition. We are very pleased to announce the Vinson family’s generous donation of those 16 batiks, as well as an additional 48 textiles from Indonesia, Malaysia and India. This collection includes two extremely rare Indian silk double-ikat trade cloths, three very early indigo batiks, as well as remarkable textiles from Borneo, Sumatra, Bali and Sumba. The textiles in the Vinson collection give us insight into the lives of South and Southeast Asians, as traders, artists and individuals. We especially thank Glenn, a former, long-serving museum board member, for moving forward with this transformative donation during a difficult time. Joan Vinson, who, along with Glenn, was a tireless museum patron and fundraiser for many years, passed away last year. This gift is a testament to the Vinsons’ taste, connoisseurship and generosity. n

22 /// ASIAN ART MUSEUM

BY NATASHA REICHLE, ASSOCIATE CURATOR OF SOUTHEAST ASIAN ART

Ceremonial cloth (patola), approx. 1750–1825. India; Gujarat. Silk. Asian Art Museum, Gift of Joan and M. Glenn Vinson, Jr., F2016.34.56. Photograph © Don Tuttle.

MUSEUM LIBRARY

OUR LIBRARY IS AN OPEN BOOK A curator at the Metropolitan Museum of Art was on the hunt for

also archaeology, architecture, history, philosophy, religion, liter-

a rare text on Japanese basket weaving, and it was nowhere to

ature, the performing arts and music, among many other topics.

be found. That is, until Met staff took the search to the Asian Art

The online conversion of the card catalog, funded in large part

Museum, which boasts one of the nation’s most comprehensive

by a grant from the Atsuhiko and Ina Goodwin Tateuchi Foundation

research libraries on Asian art and culture.

(and supplemented by a grant from the Japan Foundation and gifts

With 40,000 titles (and growing!), 230 serial subscriptions

from private donors) replaced the outdated paper filing system and

and much more, our C. Laan Chun Library Center holds rare

brought the collection up to industry standards. Accessing materi-

materials that very few, and sometimes no other, libraries have.

als still requires an in-person visit, which is free with an appoint-

But up until a year ago, it wouldn’t have been so easy to locate the book here. The entire card catalog was recently converted and

ment. Frequent users include docents, collectors, dealers, local professors, graduate students and independent scholars.

made accessible online, a project nearly 20 years in the making,

“It’s both humbling and overwhelming to have responsibility

allowing people all over the world to instantly determine if that

for a collection that has such depth and significance,” says librarian

impossible-to-find book they desperately need is on our shelves.

John Stucky, who oversaw the project. “It’s been a kind of quiet

Chances are it might be. Subject areas cover not only art but

secret, and it’s nice to not be so quiet anymore.” n

Visit asianart.org/collections/library for information and to search the library’s collection online.

SOCIETY FOR ASIAN ART BOOK SALE

FRIDAY, APR 7 12:30–4 PM LOGGIA

Thousands of books, including collector’s items, will be available at bargain prices at the Society for Asian Art’s annual book sale benefiting the museum’s C. Laan Chun Library. Selections span a gamut of topics, including Asian art, history, literature, religion, culture, cooking, travel, textiles, jewelry and more. Some of this year’s rarities include: • “The Circle of Bliss: Buddhist Meditational Art” by John C. Huntington • “Extraordinary Persons: Works by Eccentric, Non-Conformist Japanese Artists of the Early Modern Era (1580-1868) in the Collection of Kimiko & John Powers” by John M. Rosenfield (three-volume set) SPRING 2017 /// 23

• “Parting at the Shore: Chinese Painting of the Early and Middle Ming Dynasty” by James Cahill (first edition) Over the past decade, the sale of donated books has raised more than $80,000 for the museum’s library, one of the most extensive Asian art libraries in the country. The funds are used to acquire more publications and periodicals, and upgrade catalog systems. n

The library is open to the public by appointment. Please visit asianart.org/collections/library for more details.

Photograph courtesy of Peter Sinton.

RETAIL SELECTIONS

ENJOYING ASIAN ART IS CHILD’S PLAY

Adventures in Asian Art: An Afternoon at the Museum $15.95 (member price $14.35) Available at the museum store and online at store.asianart.org

24 /// ASIAN ART MUSEUM

We are delighted to offer our first children’s

Lisa and The Starry Night to children.

supporter of the museum, made the initial

book based on artworks in our collection.

“Engaging children at a young age, con-

introduction to DiCicco two years ago, and

The spirited story in “Adventures in Asian

necting them to art in a joyful and inclusive

showed unwavering enthusiasm and gener-

Art” whisks children into a world of fan-

way, can shed barriers and open their eyes

osity. Deborah Clearwaters, director of ed-

tastical exploits in the museum’s galleries.

to a lifetime of enjoyment,” DiCicco says.

ucation and interpretation, offered insights

Through illustrations and rhyme, young ex-

At the museum, DiCicco often wan-

on cherished masterworks and added “fun

plorers gallivant through ancient China on

dered along with groups of schoolchildren,

fact” highlights. Nearly all of the museum’s

a bronze rhino, play-act the story of Rama

noting artworks that struck their fancy and

curators shared input on drafts.

using Thai headdresses and step into a

admiring the tales woven by storytellers.

“We wanted the book to include artworks

Japanese woodblock print to catch fireflies.

“If the book conveys a fraction of my

and stories from diverse cultures across Asia

The museum reached out to Sue DiCicco,

rewarding experience,” she says, “it will

and represent the breadth of the museum’s

be a success.”

collection,” says Clearwaters.

writer, illustrator and former Disney animator, to create “Adventures” after being inspired

As it hits the shelves, the book has

What better gift for the little ones in your

by her book “You Are My Work of Art,”

many to thank. Ann Tanenbaum, Asian Art

life than this whimsical romp through the mu-

which introduces paintings such as Mona

Museum Foundation trustee and longtime

seum — followed by a real-life escapade? n

RETAIL SELECTIONS

Clusters of plum blossoms, a bright pink orchid, leafy bamboo and a curling chrysanthemum — flora of the four seasons decorate Chinese clay tea canisters now on sale at the museum store. These canisters are made from unglazed Yixing clay from the Jiangsu province, which

TEA TIME, TIMES FOUR

absorbs the flavor of tea leaves stored inside and, like an oft-used cast-iron skillet, becomes “seasoned” over time. For that reason, Yixing canisters should only be used to hold a single type of tea. We’ve got that sorted out for you. Each canister comes filled with tea leaves chosen to complement the season of the year it represents: green tea for spring, black tea for summer, red tea for fall and Pu’er tea for winter. These canister-tea combos were developed exclusively for the museum store. Each is sold separately, so pick your favorite or treat yourself (or a friend) to a year of elegant tea times. n

Yixing Clay Tea Canisters (3” x 2.6”)

$18 each (member price $16.20)

BELLS WITH A FAMILIAR RING In Tomb Treasures, you’ll see a giant bronze bell set unearthed from Liu Fei’s tomb, the most impressive such set yet to be discovered. Music was an important part of life in Han society, and these kinds of bronze bells were the center of courtly ensembles — symbols of prestige and refinement.

Bell Set (15” L x 6” H)

$25 (member price $22.50)

While you can’t go back in time and revel with Han aristocrats, you can take home your own scale set of replica Zhong bells, designed, like those in the exhibition, to produce two different musical The bells come in three sizes. Zinc alloy reproductions ($25 for a

Double Your Discount on Member Shopping Days

6-inch tall version; $50 for a 9.7-inch version) would be a handsome

FRI, MAR 3 THROUGH SUN, MAR 5

addition to any desk (and a great conversation starter). If you like your

Take home the perfect art book, unique children’s

bells with some bulk, we’ve also got a bronze option ($750) that, at

toy or handcrafted keepsake from our museum store.

just under 2-feet tall, will wow you with its dramatic ring.

During Member Shopping Days, members enjoy

Pick up the mallet, strike the bells, and close your eyes as they begin to chime. You can practically picture yourself hobnobbing with the Han elite. n

a 20% discount in the museum store, plus a 10% discount in Cafe Asia.

SPRING 2017 /// 25

tones depending on where they are struck.

SCENE AT THE ASIAN

The Desai family enjoys the Jade Circle Exhibition Opening and reception for The Rama Epic. Photograph © Natalie N Photography.

Visitors work together to create a community rangoli during the Divali Celebration. Photograph by Quincy Stamper.

A visitor makes his own box inspired by traditional mother-of-pearl lacquerware. Photograph by Quincy Stamper.

Artist Hwang Samyong demonstrates the art of mother-of-pearl using the “cutting up” technique. Photograph by Quincy Stamper.

Dancers perform at the annual Filipino American History Month Celebration. Photograph by Quincy Stamper.

SCENE AT THE ASIAN

FASHIONABLE AT 50

Last fall, we rounded out our 50th anniversary year with our ever-popular Korea Day, exciting Filipino American History Month festivities and a rousing celebration of Divali, the Indian Festival of Lights, complete with dancing, chai tea and mehndi tattooing. We even ventured into the world of high fashion: Internationally recognized designer Joseph Altuzarra sent models Don and Ginny Meyer enjoy the annual Gump Society Tea. Photograph © Natalie N Photography.

On October 17, the museum partnered with Saks Fifth Avenue to welcome CFDA-award winning designer Joseph Altuzarra for a full-scale fashion show of his resort and spring 2017 collection. (Left to right: Juliet Bergh, Joseph Altuzarra, Helina Au. Standing l-r: Linda Lynch, Patrice Wilbur, Alexandra Caban, Elyn Shim, Beth Grossman.) Photograph © Asian Art Museum.

down the catwalk right here in Samsung Hall. ■

#AsianArtMuseum @ahjoomahan

28 /// ASIAN ART MUSEUM

COMING SOON

FLOWER POWER

JUNE 24 – OCT 1, 2017

During the Summer of Love, flowers became a powerful symbol of peace — a concept plucked straight from Buddhist art. In fact, for millennia, floral imagery has held potent symbolism in Asia. Through exquisite traditional works and exciting contemporary pieces from across Asia and beyond, discover the hidden meanings of falling cherry blossoms, elegant rosebuds, blooming lotuses and other fetching flora. Celebrate the Summer of Love’s 50th anniversary by delving into the power of flowers. ■

Dish with cherry blossoms, baskets, and stream, 1700–1800. Japan; Nabeshima. Porcelain with underglaze and enamel decoration. Asian Art Museum, The Avery Brundage Collection, B62P23. Photograph © Asian Art Museum. Flower Power is organized by the Asian Art Museum. Presentation is made possible with the generous support of The Akiko Yamazaki and Jerry Yang Fund for Excellence in Exhibitions and Presentations, and Cathy and Howard Moreland.

CALENDAR

FEATURED MEMBER EVENTS

ALL MEMBERS

RHINO CLUB

DELUXE LEVELS

Rhino Club Art Roundup Sunday, Feb 19 10:30–11:30 AM Storytelling in the galleries followed by arts & crafts

Rhino Club Art Roundup Sunday, Mar 19 10:30–11:30 AM Rhino Club Art Roundup Sunday, Apr 16 10:30–11:30 AM

Tour, Talk & Tea: Mysteries of the Han Saturday, Mar 11 11 AM–1 PM

Rhino Club Art Roundup Sunday, May 21 10:30–11:30 AM

Tour, Talk & Tea: Jade: Stone of Heaven Tuesday, Feb 7 2–4 PM

Tour, Talk & Tea: Japanese Buddhism: It’s Not All About Zen Tuesday, Apr 4 2–4 PM

LUNAR SOCIETY

Tour, Talk & Tea: Jade: Stone of Heaven Saturday, Feb 11 11 AM–1 PM

New Member Welcome Tour Wednesday, Apr 5 10:30–11:30 AM

Member for a Day Sunday, Feb 12 10 AM–5 PM Enjoy free admission to participating museums throughout the Bay Area

Tour, Talk & Tea: Japanese Buddhism: It’s Not All About Zen Saturday, Apr 8 11 AM–1 PM

New Member Welcome Tour Wednesday, Feb 1 10:30–11:30 AM

GALA See website for details

Dancer Navia Natarajan depicts scenes from the Ramayana using the classical Indian dance style of Bharatanatyam. Photograph by Quincy Stamper.

Want more access?

SPRING 2017 /// ASIAN ART MUSEUM

ASIAN ART MUSEUM GALA THURSDAY, MAR 2

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