Time and Eternity: Landscape Paintings by Bireswar Sen
Bireswar Sen (1887-1974) described his calling as an artist “to limn unerringly lines of beauty with a light that never was on land or sea.” And so he did. The artist achieved great delicacy of tone and rich emotional nuance in a body of work largely done at very small scale.
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 ...
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.
The Divine Feminine in Tibetan Esoteric Buddhism
This exhibition features a selection of Tibetan sculptures on loan and from the Museum’s permanent collection that suggest the variety of manifestations of the feminine divine in Tibetan Esoteric Buddhism, ranging from well-known forms such as benevolent bodhisattvas, fierce guardians, and forest ...
Asian Art 101
Discover the diverse facets of Asia through the Crow Collection’s 2015-2016 Asian Art 101 course. In this series of monthly introductory lectures, visiting scholars speak on the following twelve topics: art in the regions of India, China, Japan, Korea, Southeast Asia, and the Himalayas; Contempora ...
Protecting Wisdom: Tibetan Book Covers from the MacLean Collection
Tibetan book cover design has more than a thousand-year history in which stylistic influences from Kashmir, India, Nepal, Central Asia, and later, China, were amalgamated into a uniquely Tibetan creation.
Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles
This exhibition not only displays Talavera in its splendor, but also illuminates its often precarious past and glorious present. To look closely at one piece of Talavera – its design, shape and production – is to peer into a history that crosses cultural divides.
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.