From the earthy mineral pigments ground from azurite to paint a sky, to paper given its luster from yak brains, the creation of Tibetan Buddhist texts is being examined down to its bare materials at the University of Cambridge’s Museum of Archaeology and Anthropology.
Period:Qing dynasty (1644–1911)
Dimensions:H. 7 5/8 in. (19.4 cm)
UM THIS IS SO RAD!!! It kind of reminds me visually of Wang Jin ” A Chinese Dream”
Transparent polyvinyl, embroidery with fishing thread. 2005.
Though completely different contexts… Well…With a smattering of thought I guess not.
This all does have to do with collection and curation:
Wang Jin is really into the idea of being a contemporary artist in China. Not like some others such as Ai Wei Wei who is a contemporary Chinese artist outside of China (not so much by choice though…like 1/28th…but I digress). Anyhow, Chinese contemporary art is a closely related function to China’s ‘new’ economic situation which comes with more or less standard operating procedures. So basically it boils down to using the Ai Wei Wei example: In some ways, it’s much easier for Ai Wei Wei to critique China from outside China then it is for him to critique it inside China. We have experienced and more importantly he has experienced this first-hand. But Wang obviously has to comment on these vectors differently and work within the system. So from this:1)It’s authentic but not. Chinese robes like that are supposed to be technicolour dream coats so this kinda has the look of being authentic but it’s not thus the commercialisation of Chinese Culture. 2) These works have been pretty successful for him so he’s made a few of them so he keeps on making them. 3) The work is transparent so it is what it is but other things in the Chinese art/economy are not. 4) You can read this as subversive or not and thus he’s totally cloaked from that critique as well.
Also I would add that Wang Jin normally auctions his works off in China then goes international. That’s the typical story arc of art there but us international folks like *love* it and pay a premium for it. Point and Case. This means this is a market vector impacting on what get produced.
Now if you look at that rad as a raddish vase. Click here then back…Please *ahem* MET MUSEUM AND THE CRYSTAL VASE. This is in the Met’s collection by one of it’s pretty wealthy patrons. It was let’s say ‘collected’ initially in 1902 by prominent American collector Heber R. Bishop. Please note he was like rich really rich. There is an entire hall in the Met. museum with his name: Bishop Hall. Really. Rich. Okay so a ‘hall’ not a ‘wing’ but I’d still like to be hall in a museum rich. So obviously it was his taste and his money that bought his collection not necessarily what was ‘authentic’ or necessarily Chinese taste or put simply: Money talks=market vector which if you read up a bit on Wang Jin is one of the things he is into and interested in exploring in his art.
So even though they don’t have everything in common: Opposites Attract *WINK*
A mountain scene carved in white jade from Ge’ermu
DAAAAAMNN BABY GOT BACK LIGHTING!!!!
Can we give some props to the photographers here? Look at the genius in backlighting it. It looks all dreamy.
Even cooler: This isn’t even actually all that old. It’s actually done by a contemporary master.
You should really hit up the jump for a pretty stunning archaic bronze/jade carving hybrid with equally awesome back lighting,
Twenty heart-shaped leaves from the bodhi tree (Ficus religiosa) have been mounted in an album, four of which have paintings. The other sixteen are undecorated and inlaid in blue paper. The four illustrated leaves depict a luohan riding an ox, Bodhidharma crossing the Yangzi River on a reed, a luohan and a deer, and a luohan taming a tiger. Ink on leaves. The historical Buddha Shakyamuni obtained enlightenment under a bodhi tree, and thus many temples throughout China planted Ficus religiosa and a tradition of leaf art emerged for copying sutras or painting Buddhist images.
Unidentified artist of the Qing dynasty (1644-1911). Dimensions: 29.8 (h) x 40.6 (w) cm.
Source: Freer Sackler/Smithsonian