November 2012 – October 2014
The Crow Collection of Asian Art is home to a small but engaging group of objects from places that are somewhat obscured by the collective term “Southeast Asia.” The name came into use at the end of World War II to describe a part of the world that had for several generations appeared on Western maps variously as Tonkin, French Indo-China (later North Vietnam and South Vietnam), Dutch East Indies, and various other names and boundaries that have disappeared with the reemergence of independent states, many of which have chosen names to contrast with the colonial period. Burma is officially Myanmar (although Burma is making an internal comeback), Cambodia is Kampuchea, the former Sultanate of Brunei is Brunei Darussalam, Singapore is independent from Malaya, and Malaya is Malaysia. East Timor—which was a Portuguese and Catholic outpost on the island of Timor, claimed by the Dutch after centuries of trade monopoly, invaded by Japan, handed back to Portugal, and then ceded to Muslim Indonesia—is now independent, with claims to large underwater gas reserves in the maritime (always murky) region that separates it from Australia.
Southeast Asia is a part of the world where boundaries continue to change, and the segments of this complex history portrayed in Peninsulas and Dragon Tails suggest the potential for enriched understanding of the modern world through greater familiarity with the region’s past and current cultural geography.
Lacquered wood sculptures of young monks from the Mandalay period of Burmese history conjure the missing object of their devotion, the historical Buddha, who taught renunciation as a path to bliss, even while British colonials expelled the last king and queen, cooled themselves on sultry porches, and oversaw immense plantations of rubber trees on land where there had recently been only forest. A textile from 20th-century Bali reflects ancient associations between fortune, misfortune, time, and spirits, mixed with advice on preferred market days for various goods, local cults, and Hinduism as imported with people arriving from Java. The Crow Collection’s 7th-century sandstone sculpture of four-armed Vishnu, a rare example of early Khmer culture in Cambodia, takes its place alongside several later sculptures from the period of the Angkor sanctuaries. As always, the sculpture seems to occupy more space than its actual measurements would suggest. The scope of this exhibition touches on only a few times and places within the rich and complex history of Southeast Asia and its diverse cultures—ethnically varied, speaking localized languages, writing with different scripts, wearing different clothes, practicing different faiths, honoring different social structures. The objects shown are grouped by the modern countries with which they are particularly identified—Thailand, Myanmar, Vietnam, Cambodia, and Indonesia. The exhibition includes maps with boundaries of the shifting cultural spheres that produced the objects on view. The importance of geography to culture in this region emerges: the Himalayan mountains of the Eurasian continent branch to the southeast in fingers of land and terminate in the islands of the “Pacific Ring of Fire,” where the earth’s mantle shakes, and the land, rivers, and seas mete out judgments that are repeatedly honored.
Jade is a word applied to many different stones–so many that it is useful now and then to re-claim mastery of the differences for understanding and appreciating Chinese “jade.” This exhibition draws on the Museum’s Collection and generous loans of natural worked stones to encourage just that. Works of art to which the term “jade” has been applied and misapplied are grouped by their discernable distinctions as stones, rather than by style, subject, function, or date they were worked. An exercise in training the eye is presented for the pleasure it affords, along with any practical benefits that may accrue for the collector. The value added of skillfull carving, pleasing shape, fine polish,
The exhibition is dominated by natural and worked stones most commonly prized among collectors of Chinese “Jade”: Nephrite and Jadeite—two distinct materials. Other stones that sometimes pass for “Jade” also appear to serve for visual comparison: Serpentine, Chrysoprase, Agate, Soapstone, Malachite, Opaque Dolomite Marble, and others that abound particularly in snuff-bottles for the delight of the discerning eye.
Nephrite and Jadeite are both legally traded as “Jade” in the international marketplace. Both are geologically identified as metamorphic rocks, materials transformed by heat, pressure, and water from igneous magma flowing into the earth’s mantle. Both are chemically classed among minerals as silicates, that is they are rich in silicon, the second most abundant element in the earth’s outer layer, but they are grouped differently because of dissimilar chemical compositions and physical structures. Among minerals, Nephrite is an amphibole, and Jadeite a pyroxene. Nephrite is not even technically a full-blooded mineral; it lacks a developed physical crystalline structure in which atoms bond into regular, repeating, three-dimensional shapes. The conditions of heat and pressure that transformed igneous rock to metamorphic Nephrite were followed by a phase of rapid cooling that inhibited the growth of crystals. It’s structure is described by minerologists as “crypto- or micro-crystalline.” The microscopic crystal structure of Nephrite is an irreglar felt-like bond of matted chains. Jadeite has a clearly defined crystal structure of octa-hedrally co-ordinated aluminum atoms and 8 co-ordinated sodium polyhedra connected by silicate chains running parallel to the C axis of the geometric form. The grainy structure of Jadeite is denser and harder than the fibrous arrangement of Nephrite: Jadeite is the more difficult, for example to scratch. The interwoven structure of Nephrite is more resistant to breakage, and by definition the tougher of the two compounds.
Qigong (pronounced Chee Gung) is sometimes described as being “The Soul of Tai Chi.” Its origins dating back over 4500 years, Qigong is considered one of the deepest roots of traditional Chinese Medicine and Martial Arts.
Humans are a combination of physical, mental and emotional connections which interact and affect each other during every moment of every day. When one connection is out of balance, the other two are often disrupted as well. For example, try sleeping when your mind is racing, concentrating on a task when you are in significant pain or keeping your body relaxed when you are angry. Learning to understand these internal relationships and how to bring them back into a state of balance is truly the heart of our Training Mindfully with Qigong Principles™ program.
Students of Qigong begin by training an easy to learn collection of movements (forms) which can be performed seated or standing. Each form is repeated slowly, with a natural breathing cycle, allowing time to create meaningful internal connections before moving on to the next form.
Join Sifu Chris Bouguyon in an exploration of self, through Qigong.
Daily meditation practice transforms our lives without “doing” anything. But why is it so difficult to sit still and do nothing?
Finding Time Sitting Still is a six-week meditation class that shifts those states of mind so that meditation practice becomes a refreshing “get-to” rather than a “should” or “have-to.” Completely Western and non-sectarian, Finding Time Sitting Still focuses on simple metaphors and techniques for understanding and neutralizing the mind. There are no complex maps to follow or techniques to master. This is easy: if you can sit still with your eyes closed for a few minutes, you can do this.
October 1: Reframing Meditation
October 8: “What Do You Want” exercise
October 15: Meditation Techniques
October 22: Forgiveness Process
October 29: Teaching Background
November 5: Recap & Final Metaphor
We’ve taken scores of classes, workshops, and initiations. Let us save you the trouble. The practice we outline in Finding Time Sitting Still is a guilt-free, non-should, user-friendly approach to meditation. We designed it to neutralize resistance long enough for people to see results from the practice. If you’ve ever tried to meditate but couldn’t quiet your mind, this class is for you.
Jon and Linda Caswell, co-teachers