Resources

Covered ritual wine vessel (gong), approx. 1050–900 BCE. China; Western Zhou dynasty (1050–771 BCE). Bronze. The Avery Brundage Collection, B60B1004.

John Duncan, Director for Korean Studies, UCLA, gives a talk on Joseon dynasty (1392-1910) Korea at the Asian Art Museum.

Michael Knight, Senior Curator of Chinese Art at the Asian Art Museum, and Jerry Yang, Collector and Co-founder of Yahoo!, discuss collecting Chinese calligraphy in conjunction with the exhibition, Out of Character: Decoding Chinese Calligraphy (on view at the Asian Art Museum from October 5, 2012–February 13, 2013).

Dr. Sanford Tom explores Huangshan (or the Yellow Mountain), which is often considered the most beautiful as well as the strangest mountain in China.

Javellana, S.J., Professor of Art, Ateneo de Manila University speaks about art and Christianity from a historical perspective. He also explore some of the artworks presented in the exhibition at the University of San Francisco called Galleons and Globalization: California Mission Arts and the Pacific Rim (on view August 20- December 19, 2010).

Asian Art Museum Docent, Linda Lei, gives a talk to teachers on the symbols associated with Chinese Lunar New Year at the Asian Art Museum on May 15, 2014.

A demon (buta), 1993, by Duyeh. Indonesia; Cibiru, West Java. Wood, cloth, and mixed media. From the Mimi and John Herbert Collection, F2000.86.121.

The religious fervor and opulence of the Goryeo dynasty (918-1392) can be seen in the intricately hand-copied sutras (the teachings of the Buddha) that date to this period. Korean monk-scribes were commissioned by royals, aristocrats, and individual high-ranking monks to write the sacred words of the Buddha by applying pigments of ground gold and silver to deep indigo–dyed mulberry paper. They began by pictorially narrating the sermons of the Buddha with key episodes within the sutra chapter on the frontispiece (first four sutra panels). The rest of the sutra comprised flowing calligraphy translating the Buddha’s teachings.

The central cave at Longmen, built in the late 600s, vividly asserts the union of the concept of Buddha as universal sovereign with the concept of the emperor (or empress) as the living representation on earth of that principal.

Jeffrey Durham, Associate Curator of Himalayan Art, discusses a painting of the Buddha Vairochana in the exhibition, Enter the Mandala.