18 AWNY Gallery Shows & Online Exhibitions

AWNY Gallery Shows & Online Exhibitions 19

ASIA WEEK NEW YORKThis year Asia Week,
once more, is a hybrid
event with in-gallery
shows and galleries byappointment only
running alongside
online exhibitions from
16 to 25 March.
As usual, the occasion
coincides with the
Spring sales at theauction houses, which
are also hosting both
physical and online sales.
For ease, we are listing
the in-gallery shows first
followed by a round-upof the online activities. Chinese ceramics from the Tang to Yuan dynasties, Zetterquist Galleries

Chinese Art
SPRING EXHIBITION
Chinese Porcelain
and Works of Art
Ralph M Chait, 16 to 22 March

A highlight of this year’s gallery
show is a set of three Qingbai glazed,
string-design ewers, dating to theNorthern Song period, 10th century.
This form, with its distinctive string
design is a variation on a classic form
and is considered a rarity.

s 16 East 52nd Street, 10/F,

NY 10022; for gallery hours,tel 212 397 2818, rmchait.com

INK AFFINITIESThe Collaborative Worksof Arnold Chang andMichael Cherney
Fu Qiumeng Fine Art, 16 to 25 March

New to AWNY, Fu Qiumeng Fine
Art presents works by Arnold Chang
and Michael Cherney. One of themost innovative on show is SaltscapeLattice. The ‘salt print’ was one of theearliest processes for producing
positive photographic images on asheet of standard drawing paper;
wetting a paper sheet with a salt
solution was the first step in making
it sensitive to light. Cherneyphotographed salt crystals dissolving
under a microscope and, whenprinted, the fractal qualities of theimages are enhanced and take on theappearance of rocks, flowers, or othernatural forms. By arranging theminto the shape of a lattice for printing,Cherney created a ‘canvas’ of random,
yet orderly configurations that
Morristown, New Jersey-based
Chang could attempt to weave into a
coherent composition.

s 65 East 80th Street, G/F, NY 10075,
tel 646 838 9395, fuqiumeng.com

CHINESE CERAMICS
From Tang-Yuan
Dynasty
Zetterquist Galleries, 16-25 March,
in-gallery by appointment

Most of the objects in the exhibition
are recent acquisitions, sourced from
American and European collections
over the past two years. Highlights
include a group of celadon glazed
wares from both Southern andNorthern Chinese kilns. The earliestof the celadons is a small Yue ware
melon shaped ewer, delicately pottedwith foliate form foot-rim andoriginal lid. There are several
examples of Yaozhou wares,
including a ‘Moon White’ example
and a carved bowl decorated with an
ox gazing at the moon, both from theJin dynasty. The finest of the
ASIAN ART | MARCH 2022 |Northern Song dynasty examples is alarge bowl with a masterfully carved
peony pattern and an ideal Yaozhou
celadon glaze. A 13th/14th century
Longquan is from the Henry
Guinness de Laszlo (1901-1967)
Collection. Also on offer are two
persimmon glazed tea bowls, one
from Yaozhou and the other from
Jian, are joined by a Jizhou
tortoiseshell glazed censer torepresent black and brown wares inthe exhibition. The earliest, and mostimportant white-ware piece in show
is a Tang dynasty Xing-ware bottle
vase from a New York private
collection.

s 3 East 66th Street, #2B, NY 10065;
for gallery hours tel 212 751 0650,
zettterquist.com

Japanese andKorean Art
TWO HUNDREDYEARS OF JAPANESEPRINTS
The Art of Japan, 18 to 21 MarchThis year’s offering in New York ofJapanese prints ranging from classicalukiyo-e to early sosaku hanga. A
featured work is a woodblock print
entitled Black Cat and Tomato Plant,
by Takahashi Hiroaki, dated 1931,
in an edition of 100. This charming
print is twice the usual size andprinted on thick hosho showing a
black and white cat on the hunt andwinding his way around a tomato
plant.

CHAOS TO COSMOS
Ippodo gallery, 16-25 MarchThis exhibition is more than aretrospective, it is a culmination offour decades of artistic explorationand personal reflection. Startingwith the Ken Matsubara’s earliest
years, the result is a daring showcasethat delves into the deepest cornersof spirit and self, honouring theindividual experience as much as theEastern journey to serenity. The
show begins with a work from 1976,
completed when Matsubara (born in1948) was just 28 years old. Motion isa fiery work, marked by bold reds
and blacks twisted into action. Three
years later, in 1979, Herd of Cattle
evokes Picasso’s 1937 Guernica, with
its wide panels and geometricanimals. Like the iconic Picasso,
Matsubara’s early works are
explorations of battles, both internaland external, between animal andman…man and self.
As the youngest child in a familyof nine children, Matsubara’sunanswered questions and humble
origins led him to spend hours ofreflection at the local Buddhist
temple, where he found solace in its
sounds and philosophies. From thetemple echoes to the teachings of themonks who surrounded him,s The Mark Hotel, Suite 215,

NY 10075, tel 206 859 9940,
theartofjapan.com

FUTURE FORMS
Women Artists inModern Japanese
Ceramics

Sun by Ken Matsubara, 91 x 117 cm,
Ippodo Gallery

Dai Ichi Arts, 16 to 25 March

Ayumi Shigematsu is part of avanguard generation of highly
influential post-war female artists inJapan whose practices are inspired byconcepts of female sexuality andrepresentations of nature. With thispiece the artist reflects on the handbuilding clay production founded
during the Jomon Era. Jomon, or
cord-patterned pottery, is a methodof hand-building clay used by women
during this period before wheelthrown pottery traditions were
established in Japan. An example ofher work in this exhibition, is Jomon
Spiral.

s 18 East 64th Street,1/F, NY 10065,
for gallery hours tel 212 230 1680,
daiichiarts.com#AsianArtPaper |asianartnewspaper |Moon Sound 1 (2021)
by Ken Matsubara (b 1948),
painting, 168 x 122 cm, Ippodo Gallery

asianartnewspaper |Matsubara developed a foundation, agrounding, in the beauty of nature.
The turning point came with Chaos, awork from 1983. The 12 panels spana staggering 1100 x 180 cm, tellingthe story of Matsubara’s passionate
climb into the spiritual realm andthe Niga Byakudo-zu – the white
path between two rivers. Matsubara
was inspired by a scroll depicting theNiga Byakudo-zu at the temple (nowat the Nara National Museum),
lingering in his memory fromchildhood. As the story goes, oneriver was full of flames, beasts, andlife’s evils, while the other flowedwith water. When Matsubara saw
the image, he ruminated on theuniversal struggles of greed,
attachments, anger and hatred,
depicted as bandits and evil beasts
clamouring over each other torepresent the river. On the easternbank, the voice of the Sakyamuni
Shaka Nyorai says, ‘Go,’ while theAmida Buddah on the western banksays, ‘Come’. In the middle is always
the white path to serenity, where one
must hear the voice and choose towalkthenarrowline
toenlightenment.

s 521 West 26th Street, NY 10001,
for gallery hours tel 212 695 8035,
onishigallery.com

JAPANESE WORKSOF ART
Giuseppe Piva, 16-25 March

Mandarin Orange, Dried Persimmons,Smelts and Different Nuts; Food Usedfor the Celebration of the New Year by
Ruryukyo Shinsai (act 1799-1823),
colour woodblock print with mica
highlights, kokonotsugiriban surimono,
14 x 18.7 cm, circa 1810,
signed Shinsai sha. Issued by the
Yomogawa (Four Directions Group).
Poems signed Gurendo Nakakubo,
Soshuro Kinrachi, and Yomo Utagaki
Magao, Sebastian Izzard

tel 212 967 4899, ippodogallery.com

Sebastian Izzard, 18 to 26 March,
in-gallery by appointment

Surimonoaretheprivatelycommissioned counterparts to thecommercial Japanese woodblock
prints of the late 18th and early 19th
centuries. Produced in small
numbers for a mostly educatedaudience of literati, they were often
more experimental in subject matterand treatment, and extravagant inprinting technique, than commercial
prints. The poetic texts which often
appear on these prints were of equal
importance to the illustrations, andbecause they were privately printed
and distributed, surimono neither
had to be approved by the censor nor
do they bear publisher’s seals.
Unlike commercial publishing,cost was not a primary considerationin the production of surimono. Only
the finest quality paper was employed.
Skilled artisans cut highly refinedand complex matrices of blocks
which craftsmen worked with new
and inventive procedures andmaterials. The recently developed
colour printing techniques included:
wiped shading (bokashi); gauffrage,
also known as embossed or blind
printing(karazuri);stencilled
ground mother-of pearl and mica
powder (kirazuri); spray-printing(fukibokashi);burnishing;andmetallic pigments made from brassor tin, which gave the appearance ofgold and silver. All were applied togive nuance to the prints and served
to catch the eye and impart aluxurious, almost tactile quality tothem. The shikishiban, or square
paper shape, soon became the format
of choice among the many ukiyo-e
artists hired to design surimono.
By the turn of the 18th and 19th
centuries, they had evolved into two
main forms: as an announcement or
invitation to a special event; and as
prints individually commissioned by

Asian Art Newspaper

Wave (2021) by Kondo Takario(b 1958), marbleised porcelain,silver mist glaze, cast glass
15 1/8 x 9 1/2 x 6 1/8 in,
Joan B Mirviss

them to one poem per image.
Complete sets of the first edition are
extremely rare, with only four
examples extant.

s 17 East 76th Street, 3/F, NY 10021.
Hours: 11-5 pm, tel 212 794 1522,
izzardasianart.com

KONDO TAKAHIRO
Making Waves
Joan B Mirviss, 16 to 25 Marchs 32 East 67th Street, 3/F, NY 10065,
PRIVATELYCOMMISSIONED
JAPANESE PRINTSAND ALBUMS
from the Late 18th and
Early 19th Centuries

thick billet, she then incises the billet,
revealing the stratum of metals
below. Afterwards, she flattens theincised billet into a thin, circular
sheet, allowing the layered metal toform organic patterns. Finally, using
a metalworking hammer, the sheet ishammered into the artist’s desired
shape.

A Pipe and Decorative Tobacco Pouch
with Ojime Bead and Manju Netsuke
by Kubo Shunman (1757-1820),
colour woodblock print with metallic
pigments, shikishiban surimono,1813,
20 x 18.4 cm), Sebastian Izzard

poets or poetry groups to serve as avehicle for illustrating their verses incelebration of the season or for someother chosen theme. The amateurpoets who paid to have their poems
included were often wealthy, andtheir patronage was a lucrative sourceof income for artists.
Surimono reached their apogee
between the late Bunka era until the
mid-Tempo period (1810-1835), an
era of economic growth and lax fiscal
policies. Two artistic groups
dominated surimono production: thegroup of artists led by Katsushika
Hokusai (1760-1849) and his school,
including Totoya Hokkei (17801850) and Yashima Gakutei (17861868), who specialised in still-life,
landscape, and illustrations ofclassical Chinese and Japanese
literature; and the artists led by
Utagawa Toyokuni (1769-1825), andafter his death in 1825 by Utagawa
Kunisada (1786‒1865), who became
known for images of the theatre andits performers. Fine examples bythese artists as well as otherrenowned
painters
including
Kitagawa Utamaro (1756-1806) andKubo Shunman (1757-1820) arefeatured.
Another highlight of the exhibition
is a complete first-edition set ofHiroshige’s Eight Views of the
Suburbs of Edo, or Edo kinko hakkei,
long considered among his finest setsof prints. The series is thought tohave been completed around 1837 to
1838 when Hiroshige, at age forty,
had reached full maturity as an artist.
Only first-edition sets include all thepoems, as subsequent commercial
editions of the prints omitted or
replaced them, generally limiting

The latest solo exhibition of Kondo
Takahiro features 30 new sculpturesin swirling whirlpools of black, grey,
and white marbleised porcelain,
which glisten with ‘silver mist’ that
resembles morning dew. His
signature gintekisai (silver mist)
overglaze technique finds new
expression here as he plays with scalein striking geometric forms thatcatch light from daring angles. In a
departure from his earlier Wave
artworks, Kondo incorporates awhiter clay into his marbleisation(nerikomi) technique. Its combination
with the darker clay that seemingly
flows down the surfaces creates an
ink-on-paper effect, transforming
his sculptures into what he calls‘porcelain ink paintings’. Displayed
alongside Kondo Takahiro’s latest
works are exhibited alongside ink
paintings by Chinese artist Bingyi (b1975) from INKStudio.

A highlight of the exhibition is aniron, reticulated, model of a hawk.
This Jizai Okimono is constructed ofnumerous hammered plates jointed
inside the body with its head, wings,
and claws move remarkably smoothly,
as do the feathers which moveindividually and can spread. Hawks
were prized possessions of thesamurai class and were metaphors ofmartial training and the samurai or
warrior spirit.

s Exhibiting at Adam Williams Fine Art,
24 East 80th Street, NY 10075,
giuseppepiva.com

INFLUENCERS
Japonisme andModern Japan
Scholten Japanese Art,
16 to 25 MarchThis exhibition explores the influenceof Japanese art on Western art andthe development of modern
international art modes such as Art
Nouveau and Art Deco. Popularly
known as Japonisme in the West, italso contemplates the subsequenteffect of influences travelling in both
directions, resulting in the blendingof art modes into an international
style.
The exhibition includes
representation by important French,
Austrian,German,British,American and Japanese artists, ands 39 East 78th Street, Suite 401,
NY10075; for gallery hours
tel 212 799 4021, mirviss.com

THE ETERNALBEAUTY OF METAL
Onishi Gallery,16 to 25 March,

Sako Ryuhei’s modern interpretationof mokumegane, uses a centuries-old
metalworking technique steeped inrich history and tradition. To create
the intricate pattern, Sako forges 20
to 30 layers of metal under incrediblyhigh temperatures. Once the metals
have amalgamated into a single,

Shiozaki by Hiroshi Yoshida (1876-1950), circa 1900, watercolour on paper, 52 by 105 cm, Scholten Japanese Art

Mokume-gane Vase 050 (1996)
by Tamagawa Norio (b 1942),
Living National Treasure,
Hammered silver, copper andshakudo, 22.5 x 19.5 cm,
Onishi Gallery

Moon Bridge at Summer Palace,
Peking by Charles W. Bartlett(1860-1940), circa 1922,
watercolour on paper,
37.8 by 25.1 cm,
Scholten Japanese Art

also include paintings and prints,
with an emphasis on the developmentof Japanese style colour woodblock
printing in the West. The
presentation begins with works byearly advocates of Japanese art inFrance, including two Japaneseinspired etchings designed by Felix
Buhot (1847-1898), an artist who
helped spread the use of the term,
Japonsime, which was coined in 1872by his friend Philippe Burty, (18301890), a prominent art collector andcritique. One of the earliest and mostinfluential European artists who wasdeeply inspired by Japanese art andplayed an outsized role in bringing
the Japanese colour woodblock
printmaking to the West was Emil
Orlik (1870-1932), and Austrian
painter and print artist who travelled
to Japan in March 1900, determined
to learn directly from craftsmen theproper Japanese method of carving
and printing colour woodblocks. In
addition to two beautiful etchings ofJapanese subjects created during his

year and a half residency in Tokyo,
there will be a scarce example of oneof Orlik’s first colour woodblock
prints that he produced in Japan,
Japanese Resting on the Mountain,
circa 1900. An exceedingly rare andsought-after work, the composition
brings to mind Hiroshige landscapesfrom the Fifty-Three Stations of theTokaido, and at the same time,
exemplifies the emergence of Art
Nouveau from Japonisme.
In contemplating the multidirectional flow of influences, theexhibition will include works byJapanese artists that were inspired byWestern modern art, and whothemselves were an influence onother artists. In the same year that
Orlik was in Japan learning Japanesetechniques, the young painter andfuture printmaker, Hiroshi Yoshida(1876-1950) was in the US, travellingfrom city to city with his friend andfellow artist, Nakagawa Hachiro(1877-1922), and somehow managing
to arrange exhibitions of theirwatercolours of Japanese subjects at
almost every stop. One of the mostimportant works on view is a verylarge, circa 1900, watercolour
painting (over 40 inches long) by
Yoshida titled Shiozaki, which helikely sold during that first trip to the
US. A letter from Yoshida’s wife,
artist Fujio Yoshida (1887-1987),
recalls that they visited the painting’s
owner on one of their return trips to
California, probably when they
returned in 1924 with a travellingexhibition organised to help support
artists following the devastating
September 1923 Great Kanto
Earthquake. Yoshida was arguably
one of the most influential artists in
his time, because in addition to his
talent as a painter in both traditional
Japanese materials (such as sumi ink
on silk), as well as Western materials(including oils and watercolours), helater found fame as a shin-hanga (newprint)
woodblockprintmaker,

making Yoshida a leader of his time,artistically and commercially.

s 145 West 58th Street, Suite 6D,
NY 10019, for gallery hours,tel 212 585 0474,
scholten-japanese-art.com

JAPANESE
BAMBOO ART

Tai Modern, 16 to 25 March,

A highlight of this exhibition is
Meoto Iwa (The Wedded Rocks), oneof the pieces by Yufu Shohaku, whofeatures in a solo exhibition at thegallery. The 80-year-old artist–
known for his robust and energetic,rough-plaitedbasketsthat
incorporate bamboo branches androots, half-split chunks of bamboo,
and bamboo ropes–spent much of2020 working on this sculptural
homage to connection and new
beginnings.

s 38 East 70th Street, NY 10021,

tel 505 984 1387, taimodern.com

MODERN
MASTERPIECES
From the Taisho to
Early Showa Eras

Thomsen Gallery, 16 to 25 MarchThis year’s show includes a dramatic
mountain landscape painted by
Eiryo Satake (1872-1937) on amonumental pair of six-panel screensthat spans 22 feet in width. Satake
was famous for his landscapes andexhibited numerous times in theannual national art exhibitions
during the modern pre-war era.

s 9 East 63rd Street, 2/F,

NY 10065, tel 212 288 2588,
thomsengallery.com

SELECTIONS OF
JAPANESE ART
Hiroshi Yanagi Oriental Art,
16 to 25 March

A highlight this year from the online
show is a painted 18th-century
hagoita (paddle) for battledore, madeContinued on page 20

Ken Matsubara
Chaos to Cosmos: White Road between Two Rivers
March 10, 2022 - April 14, 2022

Tokyo: 3F, 1-8-17 Ginza, Chou-ku, Tokyo 104-0061 | +81-3-5159-0599 NY: 32 E 67th Street, New York, NY 100065 | 212-967-4899 | www.ippodogallery.com

ASIAN ART | MARCH 2022

20 AWNY Gallery Shows & Online Exhibitions

NYC Auctions 21

NY 10075, tel 415 690 9077,
artpassages.com

BINGYI
Land of Immortals

WOMEN ARTISTS
FROM 20TH CENTURY
INDIAThis Beijing-based gallery is showing
works from the Taihang Mountains
series in New York by the calligrapher,painter, film maker, poet, and landartist, Bingyi. Here, she reimagines
the history of Chinese landscapepainting from the Northern andSouthern Song masters such as Guo
Xi and Li Tang. Primarily concernedwith the themes of ecology, ruins,rebirth, and poetic imagination. The
work is part of the in-gallery
exhibition Kondo Takahiro: Making
Waves, in collaboration with Joan B
Mirviss. Other works can be seen
online.

INKStudio, online and in-gallery

DAG, 16 to 25 May

Nawab Shuja ud-Daula writing a letterby court artist Gobind Singh,
Uttar Pradesh, Lucknow, circa 1760,
ink, opaque watercolour, and gold on
paper, folio 31.5 x 23.5 cm,
Art Passages

from wood, lacquer, gold leaf, andgofun (ground clamshell). At first,
hagoita racquets were used to play
the game of shuttlecock (Japanesebadminton). The custom emerged
where hagoita racquets were given to
women at the start of the new year asa talisman to ward off evil and tobring good fortune.

s Exhibiting at Nicholas Hall,

17 East 76th Street, 4/F, h-yanagi.com

IN THE SPACE OF
THE NEAR AND
DISTANT

Miyako Yoshinaga, 16 to 25 MarchThis is a solo exhibition by Jonathan
Yukiko Clark, a Hawaii-based
Japanese-American artist. This show
will consist of monotype prints andsculptures informed by the
traditional Japanese living space,
where the transience of nature andhuman life are closely connected as
exemplified in the work, entitled
Imprint of Mihara.

s 24 East 64th Street, 3/F,

NY 10065, for gallery hours,tel 212 268 7132,
miyakoyoshinaga.com

KOREAN PAINTINGSAND SCULPTURE
HK Art & Antiques, 16 to 25 March

A highlight this year is a bronze
sculpture called Shadow of a Bird, bycontemporary artist Wonsook Kim,
whose
story-based
figurative
paintings and sculptures are poetic
and ethereal in their fluid execution
and mythical subject matter.

s 49 East 78th Street, NY 100065,

tel 646 559 0231, heakyumart.com

Indian, Himalayan, &Southeast Asian Art
DELIGHTFULIMAGES
Indian Paintings andCourtly Objects

Surveyor and the Surveyed by Navjot
takes centre stage in this show. The
sculpture, with its reference toAfrican wood sculpture was a resultof Navjot’s excursions into theforested heartlands of India. She
examines the representation of thefemale body from the point of viewof women who have been instructed,
since childhood, to survey theirbodies as a response to being
constantly surveyed by others.

s The Fuller Building,

41 East 57th Street, Suite 708,
NY 10022, tel 212 437 9037,
dagworld.com

INDIA AND IRAN
Works on Paper

Oliver Forge and Brendan Lynch
11 to 20 March, online only

The London-based gallery are backin New York with a show of over 30
paintings reflecting the court
traditions, both Hindu and Muslim,of India and Iran. The highlight is arare and very large page from theAccession Shahnama of Shah Ismail II of
Iran, Kay Khusrau received by Piran in
Khotan, signed by the artist Zayn al‘Abidin, Qazvin, circa 1576-7.
Considered the second mostimportant Safavid manuscript afterthe ‘Houghton’ Shah Tahmasp
Shahnama,
this
folio
was
commissioned by his son and uses apalette of startlingly fresh blues, reds,
yellows and greens on a highly
unusual mauve ground. It depicts
the meeting of Kay Khusrau,
mythical king of Iran and the hero of
the Shahnama, meeting thevenerable Piran, vizier to kingAfrasiab of Khotan, an ancient Silk
Road kingdom in present-day
Xinjiang, China. It is signed by
Zayn al’Abidin, a lauded court
painter who contributed six paintings
to the manuscript.

s Exhibiting at 67 East 80th Street,
Suite 2, NY 10075, forgelynch.com

COURT, EPIC, SPIRIT
Indian Art 15th to19th Century
Francesca Galloway, 16 to 24 MarchThis show presents a variety ofartworks
includingtextiles,paintings, and courtly objects. The
title of the exhibition refers to three
key lenses through which to view themulti-faceted and inventive arts ofIndia. A highlight is a 17th-century
panel from a royal tent that is part ofan important group of textiles
thought to have been produced in
the Deccan, central India. For both

Art Passages, 16 to 25 March

One of the featured works of theexhibition is the painting Nawab of
Oudh Shuja ud-Daula seated in apavilion writing a letter, by the court
artist Gobind Singh, circa 1760.
Shuja ud-Daula was an importantand powerful ruler of Oudh (Awadh)
between 1754-75 and Chief Ministerto the Mughal Emperor Shah ‘Alam
between 1759-1806, at the time of
the breakdown of the Mughal
Empire. Singh was an important
artist whose training was at the royalatelier of the Mughal Emperor
Muhammad Shah. He was quite
active at the courts in Lucknow andFaizabad and later contributed toseveral paintings in albums created
for foreign officials and patrons ofIndian art.

s 1018 Madison Avenue, Suite 5,
ASIAN ART | MARCH 2022 |Pichhvai of Dana Lila(the demanding of toll), India, Deccan,
possibly Hyderabad, mid-19th century,
cotton with stencilled and painted
design, gold and silver applied with anadhesive and painted pigments,
including copper acetate arsenite(‘emerald green’), textile: 256.5 ×
239.5 cm, Francesca Galloway

Rajput and Mughal rulers, tents wereimmensely important, especially tothe latter given the nomadic lifestylerequired to govern their empire. A
highlight from the paintings on offer
is ‘Amir Hamza clings to the Rukh’s
legs to carry him home across the sea’,from a 16th-century Hamzanama(Story of Hamza). Commissioned bya young Emperor Akbar, it is the
only known folio depicting this
episode and represents a significant
addition to the scholarship, not least
because it was painted by Dasvant, amaster artist in the Imperial atelier.

s Exhibiting at Luhring Augustine,
17 White Street, NY 10013,
tel 646 960 7540,
francescagalloway.com

Kapoor Galleries, 16 to 25 March

Highlights of paintings in the
exhibition include a delicately
rendered Company School depictionof a great Indian fruit bat, anillustration from the ‘large’ GulerBasohli Bhagavata Purana series by
the first generation after Manaku
and Nainsukh, and two vibrantpaintings from a unique Nepalese
Bhagavata Purana series. Other
works include a Mughal khanjar(dagger) with a bejewelled jade hilt.

s 34 East 67th Street, NY 10065,
tel 212 794 2300, kapoors.com

OnlineJAYASHREECHAKRAVARTY
Feeling the Pulse‘Feeling the pulse’ has become apreoccupation more than ever before,
with disruptions and disasters leading
to anxiety for many. Chakravarty has
been seeking recuperative energies
through her art-making, using grass
and roots, seeds and mud, imagining
sprouting/s of a new life from within
the fertile tending of her canvases.

JAPANESEWOODBLOCK PRINTS#AsianArtPaper |asianartnewspaper |One of the highlights in thisexhibition is Mount Yoshino MidnightMoon from One Hundred Aspects of theMoon by Tsukioka Yoshitoshi, acolour woodblock print, dated 1886.
The juxtaposition of beauty andviolence is captured as this beautiful
court lady, Iga no Tsubone, fearlessly
confronts the ghost of Kiyotaka. Herlong hair flows freely down her backas maple leaves float down beneath a
shadowed full moon. The ghost is
clutching at the title cartouche withhis eerie fingers and glaring at her
with yellow eyes.

asianartnewspaper |Kaikodo, online onlyThis exhibition of Chinese andJapanese paintings and works of art,
features a bronze Taotie mask with aring handle from the 4/5th century.
The taotie is an exceptional motif
related to Chinese culture, prevalentduring the Bronze Age. It appears as
a decorative embellishment in thearts and crafts of China over several
millennia, down to the present day.
During the Han and Six Dynasties
period the frontal, bilaterally
symmetrical zoomorphic masks
produced in bronze and fitted withloose ring handles were a common
accoutrement.

The Amida Falls in the Far Reaches of
the Kisokaido by Katsushika Hokusai,
from the series A Tour of Waterfalls in
Various Provinces. circa 1832,
woodblock print, 15 x 10.25 in,Ronin Gallery

IMPORTANT INDIAN& INDONESIANTEXTILES
Thomas Murray, online only

An Attush robe made by the Ainu
people from Hokkaido island, Japan,
is a highlight of this exhibition. The
tan-coloured ground cloth is from
elm-bark fibber and decorated withappliquéd indigo cotton, silk tassels,
shells, marine creatures, and whiteembroidery.
With compelling
ancient graphic designs known toward off evil, this robe is one of thefinest ever to come to light and likely
belonged to a shaman or a highstatus chief.

s tmurrayarts.com

HOKUSAI
Another Side of Genius

Akar Prakar, online onlys egenolfgallery.com

THE ANCIENTSAMONG US

Independentss akarprakar.com

Kay Khusrau received by Piran in
Khotan, signed by the artist Zayn
al-‘Abidin, Qazvin, from the Accession
Shahnama of Shah Ismail II of Iran,circa 1576-7, Forge and Lynch

Suite 401, inkstudio.com.cn

s kaikodo.com

DHANVANTARI’S
BLESSING

Egenolf Gallery, online onlys Exhibiting at 39 East 78th Street,

Ronin Gallery, opens 15 MarchComposed of more than 50 works
from across his nearly eight-decade
career, Hokusai: Another Side of
Genius looks beyond the iconic tocelebrate the breadth of his genius asa print designer. Featured series
include Thirty-six Views of Mt. Fuji,
A Tour of Waterfalls in Various
Provinces, One Hundred Poems
Explained by the Nurse, Remarkable
Views of Famous Bridges in Various
Provinces, and A True Mirror of
Chinese and Japanese Poems. A
selection of surimono, shunga, andillustrated books, including acomplete set of Hokusai Manga, arealso on view.
While the name Hokusai evokes
iconic designs–the white crest of theGreat Wave, the crack of lighting
beneath the summit of Mt. Fuji–his
genius extends far beyond a few
masterpieces: It is a continuous
threadunitinghisoeuvre.
Distinguished by an unerring senseof line, colour, and inventive
composition,
Hokusai’s
printscaptured Edo-period life and culture
withunfaltering
creativity.
Incorporating new pigments andAsian Art Newspaper

to over-sized. The busts are carved
either from limestone or marble.
While the marble employed in
Chinese Buddhist sculptures isusually white, one bust included in
the exhibit is carved in green marble,
perhaps evoking jade. All the busts
are exquisitely carved, a testament to
the enduring skills of Chinese artists.
Hundreds of years of weathering has
made the works softer, richer, andeven more expressive. The works alsoradiate a spiritual luminosity rarely
found in secular sculptures.
The home of Buddhism is innorthern India, but Buddhism
spread throughout China from thelate 3rd through the 6th centuries.
Buddhism triumphed as the nationalreligion of China during theNorthern Wei dynasty. Chinese
artists gave the Buddha a new look ofrobust power and contemplative
strength. The sculptures shown in
the exhibition have a decided
Chinese aura, especially visible infacial expressions of control andmeditative calm. The sculptures aretestaments to Chinese civilisation, ofboth its ability to learn from othercultural centres, such as India, and toimbue what has been borrowed with
distinct Chinese attributes.
The Buddhist sculptures shown inthis exhibit were collected over aseven-year period, from 1998-2005.
They were purchased from private
collections in Hong Kong and in the
United States. The origin of nearly all
the works is surely from the
Shandong region. In 1996, a large
cache of nearly 400 statues, most ofwhich were broken, was recoveredfrom a pit in the Qingzhou
municipality of Shandong province.
Hundreds of other, but similar,
sculptures have been salvaged undermore haphazard conditions in thesame region.

s 134 East 57th Street, NY 10022,
tel 212 223 1059,
throckmorton-nyc.com

Gathering Rushes, from the series
A True Mirror of Chinese and Japanese
Poems, by Katsushika Hokusai,
circa 1833, woodblock print,
19.75 x 9 in, Ronin Gallerytel 212 688 0188, roningallery.com

INCARNATIONS
Throckmorton Fine Art,
3 March to 7 May

This year’s exhibition comprises 40
stone busts from the long and richhistory of Buddhism in China.
Included in this exhibition are
examples of the Buddha and of
Bodhisattvas (enlightened beings
who have delayed entering paradise
to help others attain enlightenment).
The sculptures shown are from theNorthern Wei dynasty (386-534),
the Northern Qi dynasty (550-577 ),the Sui dynasty (581-618), the Tangdynasty (618-907), and the Song
period (960-1279). (There is also one
bust from the Sino-Tibet region
which dates to 500-700.) Most
prominent in the exhibit are busts
from the Song period, an era ofprosperity and innovation in China.
The busts exhibited range in size
from six inches in height, to life-size,

The Monster Skeleton (Soma no
furudairi ni Masakado himegimi
Takiyasha yojutsu o motte mikata o
atsumuru) by Utagawa Kuniyoshim,
circa 1844 (est $30-40,000).

Silver offering bowl depicting scenes
from the Ramayana, Lower Burma(Myanmar), circa 1915, diam. 32 cm,
height 19 cm, approx 1,600 g,
est $6-8,000, Bonhams

Bonhams
THE REVERENDRICHARD FABIANCOLLECTION OF
CHINESE
PAINTINGS ANDCALLIGRAPHY,PART IV
Bonhams, 21 March

The Collector, Reverend Richard
Fabian, founder and rector of San
Francisco’s ecumenical St Gregory
Nyssen Episcopal Church – first
discovered the compelling beautyof Chinese paintings while
majoring in Chinese art at Yale
University in the 1960s. From thenhe started building ‘The FabianCollection’, pursuing works by theeminent painters of the 19th and20th century. Over three decades,
Fabian formed a panoramiccollection that spans the 200-year
development of Chinese paintings
across different schools.

CHINESEWORKS OF ART
Bonhams, 21 MarchThis sale also include The Richard
Milhender Export Furniture
Collection. A highlight is a pair ofTang-dynasty prancing horses(est $40-60,000).

INDIAN,HIMALAYAN,AND SOUTHEASTASIAN ART

daring compositions, Hokusai
invigorated the familiar and brought
to life the imagined. From surimono
and shunga in his early years, to his
revolutionary landscapes of the
1830s, his prints are marked by an
enduring excellence that continues
to surprise, delight, and inspireaudiences worldwide.

s 32 W 40th St, New York, NY 10018,

NewYork Auctions
THE NOBLE SILVER
COLLECTION
Treasures from the
Burmese Silver Age

the first generation of artists after
Nainsukh and Manaku, an
18th-century Mughal painting
attributed to Mihr Chand, and an
illustration from the unusual andbold ‘Impey’ Ramayana series fromlate 18th-century Murshidabad.
The sale also highlights Indian
sculpture, Tibetan paintings andHimalayan bronzes.

An online selection of Southeast
Asian silver, offers betel boxes,
silver models, Jataka and offeringbowls from Burma.

SOUTH ASIAN
MODERN +CONTEMPORARY
ART

Bonhams, 14-24 March, online

Christie’s

JAPANESE AND
KOREAN ART
Including the Collectionof David and Nayda
Utterberg
Christie’s, 22 MarchThis sale is led by the important
Buddhist paintings from theUtterberg Collection. Among adiverse selection of Japanese andKorean art on offer is the earliest
example of a Korean gathering ofliterati painting with true view, as
well as Katsushika Hokusai’s
masterwork, and a group of modern
and contemporary art,
including nihonga. Other lots
include lacquer works, sculptures,
metalworks, screens and important
Korean works of art and paintings.

INDIAN, HIMALAYANAND SOUTHEASTASIAN WORKSOF ART
Christie’s, 23 MarchThis season’s sale features works
from across India, the Himalayas,
and Southeast Asia, including alarge and impressive selection ofIndian court paintings. Highlights
among the classical Indian
paintings, include a folio from theso-called ‘Bharany Ramayana’ by

Bonhams, 22 March

A highlight from this sale is agilt-bronze Tara from Nepal, early
Malla period, 13th century(est $500-700,000).

JAPANESE AND
KOREAN ART
Bonhams, 23 MarchHead of Bodhisattva Maitreya,
Song period (960-1279), marble withpolychrome, height 33 3/4 in,Throckmorton Fine Art

Head and torso of a Bodhisattva,
Sui period (581-618), China,
limestone, height 19 1/2 in,Throckmorton Fine Art

Japanese print highlights from thesale include two works by
Katsushika Hokusai: Storm Below
the Summit (Sanka hakuu), from1831 (est $200-300,000) and prints
from the Thirty-Six Views of Mt
Fuji (est $150-250,000), andMirokuBosatsu(Bodhisattva
Maitreya) in
Welcoming
Descent,
ink, colour,
gold and goldleaf on silk,David and
Nayda
Uttenberg
Collection,
est $300400,000,
Christie’s

Christie’s, 23 March

Comprising works from the
Mahinder and Sharad Tak
Collection (alongside a running
auction from 15-20 March), thesale offers a significant group ofworks that celebrate diverse artistic
practices from the South Asian
subcontinent and its diaspora in the20th and 21st centuries, with such
artists as Bhupen Khakhar, Manjit
Bawa, Arpita Singh and Sayed
Haider Raza, plus works by
Maqbool Fida Husain, Rameshwar
Broota, Jogen Chowdhury andJagdish Swaminathan.

Imperial famille-rose, enamelled,
glass snuffbottle, imperial palace
workshops, Beijing, Qianlong fourcharacter incised seal mark and of
the period (1736-1795), height 5cm,
est $400-500,000, Christies

ranging from Neolithic utilitarian
vessels to paintings, calligraphy,
imperial jades and porcelain. The
New York auction will be the firstof a series of four single-ownersales to be held globally. Highlights
include an imperially inscribed palegreen jade ‘luohan’ boulder, Qing
dynasty (est $400-600,000), a
carved cinnabar ‘hibiscus’ dishdating to the Yuan/early Ming
dynasty, 14th cenrury (est $100150,000), and a rectangular archaicbronze vessel (fangyi), late Shangdynasty, Anyang, 12th century BC(est $400-600,000).

IMPORTANTCHINESE ART
Sotheby’s, 23 March

Top lots from this sale include a
porcelain Xuande-period blue andwhite dice bowl, plus an archaicbronze Guo Ji Shi Zi Zu hu, lateWestern Zhou dynasty, late 9th or
8th century BC.
Chinese celadon-glazed ‘Dragon’charger, est $80-120,000, DoyleDoyleASIAN WORKSOF ART
Doyle, 21 MarchViewing 18-20 March

Doyle’s annual auction for Asia
Week presents the arts of China,
Japan and elsewhere in Asia datingfrom the Neolithic period throughthe 20th century, including
porcelains, bronzes, jades, scholar’s
objects, furniture and paintings.

Sotheby’s
An illustration from a Harivamsa
series: the Demon Nikumbha Kidnaps
the Princess Bhanumati, nothern
India, Kangra, circa 1820, 37 x 47
cm, est $30,000-50,000, Christie’s

Carved cinnabar lacquer ‘Hibiscus’
dish, Yuan/Early Ming dynasty,
14th century, est $100-150,000,
Sotheby’s

MODERN &CONTEMPORARY
SOUTH ASIAN ART
Sotheby’s 21 MarchOver 70 artists are represented inthis sales which spans the late 19th
century to the present, including
some of the biggest names in thefield, along with lesser-known
artists who have recently (and insome cases yet to) received their due
recognition. Highlights include
works by Francis Newton Souza,
Bhupen Khakhar, Manjit Bawa,
Maqbool Fida Husain, Zarina andMeera Mukherjee.

Blue and white dice bowl, mark andperiod of Xuande, diam. 26.5 cm,
est $600-800,000, Sotheby’s
Sotheby’s Online Auction

China: 5,000 Years, 16-29 March

A white overlay
cobalt-blue glass‘lily’ snuff bottle
Qing dynasty,
18th century,height, 5.8 cm,
est $6-8,000,
Sotheby’s online

A JOURNEY
THROUGH CHINA’SHISTORY
The Dr Wou Kiuan
Collection, Part 1
Sotheby’s, 22 MarchThis is one of the mostcomprehensive collections ofChinese Art to come to auction,celebrating over 4,000 years ofChinese culture and art history,

Untitled (1977) by Jehangir
Sabavala, est $600/800,000, inSouth Asian Art, 21 March, Sotheby’s

ASIAN ART | MARCH 2022