Food-serving dish with plant and half wheel design, from Mino region of Gifu Prefecture. Simple wheel thrown form squared off while still in wet state. Museum label describes the piece, technically, as stoneware with inlaid slip. Perhaps the decoration was achieved by coating the entire surface with a dark slip (liquid clay) and then cutting the design through the slip coating to reveal the lighter colored clay of the piece, itself, under the slip. Museum purchase, B76P2
A fairly large porcelain piece, very full in form. The surface of the piece functions as a canvas for the very bold, energetic brush decoration that covers the entire surface. The image is that of a dragon, a frequent theme in east Asian art, twisting as it moves through the air between clouds. The brush decoration is iron oxide applied under the glaze.
This large dish with plant design is an example of the type of Shino known as E-Shino, Pictured Shino. E-Shino pieces feature brush decoration applied to the piece before it is covered with the Shino glaze. The Shino glaze is composed almost entirely of one particular feldspathic rock and produced a great variety of surfaces, depending on how thickly the glaze was applied, the temperature reached in the kiln, and the atmosphere of the kiln (how smoky the fire was during critical phases of the firing). Zoom in on this image to see how lush the Shino surface was on many pieces.
Square dish with bird design, from the Mino region of Gifu Prefecture. Characteristic Ao-Oribe style ware, with brush decoration done in iron oxide under white glaze, with copper green glaze. Museum Purchase B67P8
Large spherical jar of the sort known as a "Moon" jar. The museum label comments, these jars "...were loved by Korean people not only because of their white color, which was suggestive of Confucian virtues, but also because the form was thought to represent the fertility and gentle, embracing qualities associated with women during the Joseon dynasty." This example presents an interesting comparison with the jar presented in file ecasia000358, another "Moon" jar from the collection of the Art Institute of Chicago. The one in Chicago has a more matte glaze surface, while this one has a transparent glaze. The difference in the glaze may be the result of placement in different locations in a kiln, with the matte surface possibly resulting from a slightly cooler temperature and the transparent glaze from a slightly higher temperature, as might result at the different ends of a tube kiln. (The Avery Brundage collection, B60P110+ )
One of nineteen prints which illustrate the process of making a multi-block multicolor woodblock print.The print reproduced is the view of Asakusa Kinryuzan (Asakusa Kannon Temple) from Ando Hiroshigeâ€™s Toto yukimi hakkei (Eight Views of Snow in the Eastern Capital).
This significant sketch shows a Chinese plane bombing a monastery, Tibetan books being burned and a Chinese soldier pulling down a statue of the Buddha. In the foreground a Chinese soldier is depicted with a rifle chasing the young, unarmed Dalai Lama out of Tibet. This naive image illustrates in summary fashion a Tibetan's interpretation of the 1959 Chinese invasion of his homeland produced soon after the event . While it is technically less skilled than some others in this series, it combines historical and aesthetic values to produce an image juxtaposing stylized innocence with military violence. This image is of enduring political significance insofar as the Chinese occupation of Tibet is an enduring problem continuously addressed by non-violent means by the Tibetan Government in Exile located in India, largely ignored by an international community ever more eager to make money in China. 27-5/8 (L) x 21-1/2 (W) inches.
Ground mineral pigment on cotton, silk, 64 (L) x 39 (W) inches. This is a common Tibetan theme that represents a dynamic vision of karma and the cycles of rebirth in various forms, both coarse and subtle, earthly, heavenly and hellish. All are driven by the beastly desires symbolized by the snake, bird and pig located at the center of the wheel. The twelve causes of rebirth are shown on the rim while the six conditions of birth are shown inside the wheel. The wheel is held in the grasp of Yama, the lord of death. The message here is that the teachings of the Buddha offer a path to escape from this world of endless change and suffering.
Ground mineral pigment on cotton, silk, 50-1/2 (L) x 30-1/2 (W). Padmarupa wears a five -skull crown and holds a conch in his left hand and a drum in his right. Above him are Paden chogyo, Chok Lang, Marme Dzay, Chokyi Drakpa and Yonten O. In front are Yawa Huti, and ascetic and the scholar Gaya Bhara. In the lower foreground are Mahakala, a monk and Lhamo. Painted in Central Tibetan style.
Ground mineral pigment on cotton, silk, 49 (L) x 27-3/4 (W) inches.. White Tara is the goddess of long life. A small image of Amitabha Buddha is in her crown. Her right hand is in the gift-giving gesture (varada mudra) while her left holds up a peony. In front of her are offerings flanked by Amitayus and Vijaya. Executed in the Kham style.