Vivan Sundaram: Re-take of Amrita
Vivan Sundaram: Re-take of Amrita reassembles the extended story of the artist’s family as seen in photographs and albums made by his grandfather, a philosopher and amateur photographer. The resulting digital photomontages combine images collapsing both time and space into contemporary fictions.
Internationally recognized for his many artistic accomplishments, including “Scroll,” a stunning section of the opening ceremonies of the 2008 Olympics in Beijing, artist Shen Wei reveals his most recent and significant series of paintings.
A Porsche is a particular object of desire in China—an alluring “gold ring” of modern consumer status. This fiberglass Porsche 911 is painted with patterns derived from historical Chinese ceramics.
Seeing and Believing: Krishna in the Art of B. G. Sharma
This exhibition of paintings and prints tells the story of the much-loved and “eternally sweet” Hindu god Krishna with vibrant works of art that reflect the mutual relationship of divine and devotional love, while also embodying fundamental human needs.
Peninsulas and Dragon Tails
Featuring objects from the Himalayan mountains of the Eurasian continent, the importance of geography to culture emerges in this permanent collection exhibition.
Jade, or not Jade? That is the Question
This exhibition draws on the Museum’s Collection and generous loans of natural worked stones to encourage reclaiming mastery of the differences for understanding and appreciating Chinese “jade,” in all its forms.
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This 18-foot-tall, three-dimensional “character” is a sculptural exploration of written language, architectural in scale and feel, it is less about words than about the meaning behind words.
Traditionally placed as guardians outside entrances to convey protection and noble authority, this pair of carved stone lions is activated with new energy in these monumental sculptures.
Contrasted in brilliant red and shadowy black, these magnificent bronze figures depict Tibetan monks engaged in the act of sweeping, both a daily chore and a ritualized practice.
This Mugal Façade is characterized by a complex synthesis of native Indian forms, media, and iconography with Islamic-inspired geometric designs and natural motifs.
Cut from blocks of rock crystal quarried in central Japan and accompanied by an intricately fashioned stand, this sphere is the second largest flawless crystal ball known in the world.
Modeled after a prized central Asian stallion, this serene and regal figure was a popular mingqi (spirit good) or tomb furnishing during the Tang Dynasty.