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.
Fundamental and Superfluous: The Arts of Life in China, Japan, and Korea
This exhibition examines works of art from the Museum’s permanent collection that present artistic imagery and auspicious symbolism as design elements embedded within sculptural objects with a functional purpose. These vases, chests, and objects d’art are imbued with symbols and beliefs of the ...
At Home and at Court: Chinese and Japanese Paintings from the Crow Collection
This exhibition draws on the museum's holdings of paintings from China and Japan, and explores the East Asian painting formats of hanging scrolls, hand scrolls, and folding screens. These mediums, and the traditional subjects of landscapes, religious figures, bird and flower compositions, and ...
Benevolence and Wisdom: New Gifts from the Collection of Trammell and Margaret Crow
This exhibition features the most recent works of art donated to the Museum at the bequest of Margaret Doggett Crow (1919-2014). Highlights of this final gift to the Museum include fine examples of Asian export porcelain, jade vessels with delicately carved auspicious imagery, and Japanese ivory ne ...
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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.