V I V I A N 江
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WA N G 孩
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The Children of Edo
Cat, 2016 25 x 1 3 x 11� C ast g la ss, sto ne ware , g emst on es, ste el base
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V I V I A N 江
户
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WA N G 孩
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The Children of Edo Over the last six years, Habatat Galleries has had the privilege of being the exclusive gallery offering the work of artist Vivian Wang. During that period, Vivian has created more than 100 unique ceramic and glass sculptures. The pieces are figurative, inspired by the ancient art of China and Japan and set in the history of each. In addition to the work, the artist also provides a story that explains the significance of the figure’s attire, created in hand-painted stoneware and adorned with gems. Some of Vivian’s work depicts children from the ancient royal courts of China and Japan, while others are warriors, Samurai soldiers dressed in elaborate armor.
This publication displays a collection of Vivian Wang’s recent works. Included are two series of sculptures, “The Children of Edo” and “The Warriors of Edo”, created between the summer of 2015 and the winter of 2017. Vivian’s works have been exhibited at numerous venues over the last six years and we are very excited to announce that two pieces from “The Children of Edo” were recently acquired by the Imagine Museum in Saint Petersburg, Florida. The two works will be on permanent display there in 2018.
Habatat Galleries is very proud to be offering the sculpture of Vivian Wang. Contact the gallery for more information and available work by the artist.
“Children of Edo” was inspired by the dolls of the Edo period in Japan (1603 -1867), a prosperous time when Japanese society was stable and the arts flourished. Perhaps this was due in part to Japan’s xenophobic ways which caused the country to close its ports to most foreign trade. The happy result was the emergence of fine craftsmen and artisans, among which were some very fine Japanese doll-makers. This period also witnessed the development of a market of wealthy individuals who would pay large sums for the most beautiful dolls. Thus, during the Edo period, the art of doll-making was taken to great heights.
HABATAT GALLERIES 248.554.0590 | info@habatat.comw
4400 Fernlee Ave., Royal Oak, MI 48073
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Musi ci a n D oll, 2016 26 x 1 2 x 10” C ast g lass, sto ne ware , g emst ones, stee l ba se
娃娃
Li on H ead, 2017 28 x 13 x 13” C a s t g l a s s , s t o n e w a re , gemstones, steel base
狮子
Ci rc l e s, 2016 26 x 1 1 x 10� C ast g lass, sto ne ware , g emst ones, stee l ba se
界
M i nstrel D ol l , 2017 26 x 13 x 10” C a s t g l a s s , s t o n e w a re , gemstones, steel base
娃娃
Bl a ck Tor tois e, 2016 35 x 1 5 x 15” C ast g lass, sto ne ware , g emst ones, stee l ba se
乌龟
M onkey D ol l , 2016 33 x 13 x 15� C a s t g l a s s , s t o n e w a re , gemstones, steel base
猴
Fri e nds hip Boy , 2016 25 x 1 3 x 8” C ast g lass, sto ne ware , g emst on es, ste el base
男孩
Fri endshi p Gi rl , 2017 24 x 14 x 7” C a s t g l a s s , s t o n e w a re , gemstones, steel base
女孩
Ta ssel B oy , 2016 27 x 1 1 x 8” C ast g lass, sto ne ware , g emst on es, ste el base
流苏
D ragon Warri or, 2015 34 x 14 x 16� C a s t g l a s s , s t o n e w a re , gemstones, steel base
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The Stories of each sculpture by Vivian Wang Cat, 2016 - 25 x 13 x 11” “Cat” depicts a boy holding a cat doll. In Japanese culture cats were revered, thought to be the bearers of good fortune. The popular Japanese cat figurine “Maneki-Neko” (the “beckoning cat”) is evidence of this. According to ancient Japanese legend, the “beckoning cat” waved his paw to a Shogun. Suddenly, as the intrigued man approached the cat, a lightning bolt struck the exact spot where he was previously standing. The warrior attributed his good fortune to the actions of the cat. And so the legend was born that the “beckoning cat” is a protector. Over time this became a traditional Japanese belief.
Musician Doll, 2016 - 26 x 12 x 10” “Musician Doll” portrays a girl holding a street musician doll. Street dancers and musicians were popular themes for the doll-makers of the time. These dolls were often dressed in elaborate costumes topped with jaunty hats. In my piece, the girl mimics her doll by adorning herself with a similar hat. Her kimono is held together by a sash tied with a narrow cord. This functional decoration was called an Obi and was a typical accessory of Edo Period kimonos.
Lion Head, 2017 - 28 x 13 x 13” “Lion Head” portrays a boy wearing an image of a Lion Dog’s face on his hat. Japanese dolls of the Edo Period were sometimes decorated with animal heads on their hats. The presence of the Lion Dog, called Komainu, was said to ward off evil spirits. Consequently, statues of Lion Dogs were often used to guard the gates and the doors of shrines and temples. The Lion Dog symbol originated during the Tang Dynasty in China (618-907). It was believed to have been introduced through trade with the Middle East and India which brought lion pelts and pictures to China. From there, the Lion Dog made its way to Japan.
Circles, 2016 – 26 x 11 x 10” "Circles" depicts a Chinese boy wearing a loose calf length Mongolian gown called a "deel". His costume shows the long tunic vest over his long skirt which is held together by an ornate belt. The belt over the deel was a very typical Mongolian silhouette. His attire including his hat are embellished with ornate circle motifs. This is a Chinese influence. In Chinese culture, the circle carries great importance. The circle symbolizes oneness, perfection and unity. The circle design is evident throughout Chinese culture spanning all dynasties. He is dressed in the color blue which in Chinese culture symbolizes healing, trust, calmness and immortality.
Minstrel Doll, 2017 - 26 X 13 X 10” “Minstrel Doll” portrays a young boy in elaborate court attire holding a minstrel doll. These intricately crafted dolls were considered works of art and were proudly displayed in palaces and homes rather than used as play things. The dolls often depicted street entertainers, resplendent in elaborate costumes and hats. The Mogul ruler Kublai Khan (grandson of Genghis Khan) conquered all of China in 1271, establishing the Yuan Dynasty which lasted for almost a hundred years. During that time, Chinese fashion was greatly influenced by Mongolian culture. The two pieces I have created for the International Show were inspired by the mix of the Chinese and Mongolian cultures of that time.
Black Tortoise, 2016 - 35.5 x 15 x 15” “Black Tortoise” portrays a warrior in formal court attire holding his son, also elaborately dressed. The boy is holding a black tortoise doll. In Japanese lore, the Black Tortoise protected Kyoto, Japan’s capital from 794 to 1868, from enemies to the north. Other beasts and their associated directions include the Azure Dragon (east), the Vermillion Bird (south) and the White Tiger (west). According to traditional Japanese belief, the tortoise represented both a haven for immortals and Mt. Fuji. It also symbolized longevity and good fortune.
Monkey Doll, 2016 - 33 x 13 x 15” “Monkey Doll” depicts a lady of the court holding her kimono-clad daughter. The baby girl is holding her monkey doll. In Japanese culture, the monkey had great appeal because of its human-like appearance and behavior. Japanese artists portrayed monkeys in many different art forms including netsuke, painting, printing and sculpture. People born in the year of the monkey (the monkey is the ninth animal sign of the twelve-year zodiac cycle) were believed to be endowed with many talents. They are thought to be exceptionally energetic, intelligent and inventive. But they are also considered excitable, extravagant and eccentric. Their lives are blessed with good fortune and success but are often turbulent. Both the lady and her child are adorned with pearls in their hair, the only precious stone native to Japan.
Friendship Boy, 2016 - 25 x 13 x 8” & Friendship Girl, 2016 - 24 x 14 x 7” “Friendship Boy” and “Friendship Girl”, designed in the tradition of the Edo Period, were inspired by a true story about “Japanese Ambassador Dolls” and “American Blue-Eyed Dolls”. The Immigration Act of 1924 prohibited East Asians from immigrating to the United States which increased tension between the U.S. and Japan. But In 1927, the Committee of World Friendship Among Children sent more than 12,000 “friendship dolls” to Japan. These dolls arrived in time for Hinamatsur, the annual Japanese doll festival. Inspired by this act of goodwill, Viscount Eiichi Shibusawa helped collect funds in Japan to reciprocate. The best Japanese doll-makers were commissioned to produce 58 friendship dolls. Each doll, dressed in a beautiful silk kimono with unique accessories, represented a specific Japanese prefecture, city or region. The dolls were sent to libraries and museums throughout the United States.
Tassel Boy, 2016 - 27 x 11x 8” "Tassel Boy" is portrayed by a young Chinese child of the court. His garb is adorned with three ornate tassels. Tassels were a very popular clothing embellishment in Mongolian fashion. Another Mongolian influence in his dress is the asymmetric design on his front bodice. A very important item in the Mongolian culture is the head gear. The top of his hat carries a "spire" which carries a "knot" at the top. In ancient Mongolian times, the knot was believed to frighten the enemy in battle. The spire could reach even a foot high and was very typical of the hats worn by Mongolians. On the other hand, the color yellow in his attire carries great significance in the Chinese culture. Yellow belonged to the emperor. It signified sunbeam, warmth, clarity and royalty.
Dragon Warrior, 2015 – 34 x 14 x 16” The Edo Period was the golden age of Japan. It lasted for 238 years from 1630 to 1868. It was during this time, when Japan was at peace, that the art of decorative armor gained new heights. No longer produced for battle, the Samurai armor was now designed solely to display the wealth and power of the wearer, usually a feudal lord. I created "Dragon Warrior” to capture the opulence and extravagance of this armor that was often on display during dazzling state affairs and public processions. The chest piece, depicting the serpentine-like dragon, is made of cast glass to mimic the sheen of highly polished metal. Many of the gemstones are shiny jet hematite, mirroring the look of gunmetal. I chose the dragon as it was a very popular motif used in Japanese armor during the Edo Period. This was especially so for the lavish armor made for the wealthy. Although fearsome and powerful, the dragon was equally considered a symbol of justice and benevolence and the harbinger of wealth and good fortune.
Fortune Cat, 2017 - 33 x 14 x 17” “Fortune Cat” depicts a lady of the court dressed in an opulent Japanese kimono and obi sash, holding her son on her lap. The boy’s hairdo, a bald head with tufts of hair by his ears, was very popular during the Edo Period. His toy cat, with one paw raised, represents “Maneki - Neko”, the “beckoning cat”. Legend has it that this cat of good fortune once beckoned a wealthy landlord away from a spot soon struck by lightning. The man was so grateful he erected a monastery as a shrine to this homeless cat who lived out his life in great happiness.
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4400 Fernlee Ave., Royal Oak, MI 48073
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Fo rtu ne Cat , 2017 3 3 x 1 4 x 17” Cast g la ss, sto ne ware , g emstone s, stee l ba se
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