The Rama Epic: The Story in Brief
Learn about the main events and conflicts in the Rama epic.
Learn about the main events and conflicts in the Rama epic.
Explore this interactive map. Zoom-in on high resolution details and discover English translations of the classical Chinese text and synopsis by scholars.Explore this interactive map.
Lesson on the individual rituals performed by Muslim pilgrims during the hajj, the pilgrimage to Mecca.
The River deity Ganga, approx. 800–900. India; Madhya Pradesh or Rajasthan state. Sandstone. The Avery Brundage Collection, B69S3.
The qipao is a stylish, sophisticated form-fitting dress that emerged in 1920s Shanghai. Meet Jane Zhu: she's studied qipao patternmaking and construction from master tailors. Celebrated in Shanghai and New York for her contemporary, made-to-order luxury qipao, Zhu's been featured in Vogue, Elle China, Harper's Bazaar China, Newsweek, and more. She will share her qipao designs and give a talk on the history and craftsmanship of these iconic, versatile dresses.
Chin-Sung Chang, Associate Professor in the department of archaeology and art history at Seoul National University, gives a talk on the splendors of the royal family in late Joseon dynasty court paintings in conjunction with the In Grand Style: Celebrations in Korea Art During the Joseon Dynasty exhibition at the Asian Art Museum.
Trace the spread of Buddhism through close looking at Buddhist objects from different regions. Explore how artifacts reveal distinct local traditions as well as common ideas and motifs.
Students explore the characters and themes in the Story of Rama, making connections between the epic and their lives today.
Storyteller, Ann Riley, tells a Japanese folktale about a mysterious teabowl with the use of artworks from the Asian Art Museum's collection.
Asian Art Museum storyteller Miriam Mills tells a New Year story from Vietnam in the Southeast Asian galleries of the Asian Art Museum.
The Urami Waterfall in Niko, Picture of Famous Places in the Sixty-odd Provinces, August, 1853, by Ando Hiroshige (Japanese, 1797 - 1858), Woodblock print; Ink and colors on paper, Gift of Japanese Prints from the Collection of Emmeline Johnson. Donated by Oliver and Elizabeth Johnson, 1994.48. Photograph © Asian Art Museum of San Francisco.
Explore this interactive map.
Theatrical headdress for the magical deer in the Story of Rama dance-drama, approx. 1950–1960, Central Thailand. Papier-mache, glass, and mixed media. Gift from Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.10.9.
Calligrapher Cai Xingyi writes an excerpt from the Thousand-Character Classic in semicursive script. The Thousand-Character Classic in clerical script, written by calligrapher Wen Peng (1498–1573) will be on view at the Asian Art Museum during the exhibition, Out of Character: Decoding Chinese Calligraphy (October 5, 2012–January 13, 2013).
Throne for a Buddha image, 1850–1900. Burma. Lacquered and gilded wood and metal with mirror inlay. Gift from Doris Duke Charitable Foundation's Southeast Asian Art Collection, 2006.27.1.
Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms.
Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms.
Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms.
Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms.
In Tibet, religious paintings come in several forms, including wall paintings, thangkas (sacred pictures that can be rolled up), and miniatures for ritual purposes or for placement in household shrines.
Ayomi Yoshida and her assistants install "Yedoensis" at the Asian Art Museum in San Francisco during the exhibition, Flower Power (June 23 to Oct. 1, 2017).
A time-lapse video of artist Sun K. Kwak creating "Untying Space_Asian Art Museum, SF." Experience this work in person at the Asian Art Museum during the "Phantoms of Asia" exhibition (on view from May 18-September 2, 2012).
Asian Art Museum volunteer Sandon Chin shot and edited this timelapse video of artist Lee Kang Hyo's demonstration of Korean buncheong pottery.
From August 16-19, 2012, six Tibetan Buddhist monks travelled to San Francisco from the Drepung Loseling Phukhang Monastery in South India to create a sand mandala for the Asian Art Museum.
Today's Special Series Title: 31 Flavors Invading Japan, by Masami Teraoka (Japanese, born 1936), 1982. Woodblock print; colors and watercolor on Hosho paper. Acquisition made possible by Richard Beleson and Kim Lam Beleson, 2004.22.
Torso of a bodhisattva, approx. 700–750, by Wen Fong. China; cave XXI, Tianlongshan, Shanxi Province. Tang dynasty (618–906). Sandstone. The Avery Brundage Collection, B60S6+.
The Asian Art Museum presented Korea Foundation Korean Culture Day on Sunday, Nov. 17, 2013 for the fifth consecutive year. This feast of Korean culture featured food, music and other performances as well as hands-on art activities for all ages. The festival was presented in conjunction with the museum's special exhibition In Grand Style: Celebrations in Korean Art during the Joseon Dynasty.
Join us for a traditional wedding ceremony at the museum as part of In Grand Style: Celebrations in Korean Art during the Joseon Dynasty. The Asian Art Museum in collaboration with the Korea Cultural Heritage Foundation presents a special reenactment of an elite class (yangban) wedding, illuminating the elaborate procedures involved in this ceremony. The reenactment will illustrate how celebrations in Korea's royal court influenced those of the elite class during the Joseon dynasty (1392–1910), as well as reveal a centuries-old tradition that continues in Korea today.
View a reenactment of a Joseon-dynasty wedding. Learn more about the wedding attire in the exhibition, Couture Korea.
View the step-by-step process of traditional porcelain production in Jingdezhen, where ceramic vessels were made for China's emperors for more than 500 years.
Poet, author and filmmaker Michael Wolfe shares personal stories from his journeys to the Arabian Peninsula. A critically acclaimed filmmaker, Wolfe hosted an inside account of the hajj (pilgrimage) for Ted Koppel’s “Nightline” on ABC during Wolfe’s pilgrimage to Mecca in 1997.
This selection of resources introduces stories of trickster characters from across Asia. Resources support the Tricksters! storytelling school program at the Asian Art Museum.
Twelve views of West Lake, approx. 1740-1776, by Ike Taiga (1723-1776). Japan; Edo period (1615-1868). Pair of six-panel folding screens; ink and light colors on paper. Gift of Asian Art Foundation, B65D51.
Two-tiered chest with stand, approx. 1800-1850. Korea. Lacquered wood with mother-of-pearl inlay. Gift of Evelyn B. McCune in memory of George McAfee McCune, 1992.30.1-.3.
Umar Maya, loyal companion to Amir Hamzah, by Pak Rohman, perhaps 1800-1900. Indonesia; Gebang, West Java. Wood, cloth, and mixed media. From the Mimi and John Herbert Collection, F2000.86.51.
Fan Zhang, Senior Associate Curator of Chinese Art at the Asian Art Museum and curator of the exhibition, Tomb Treasures, guides us through the show and describes the burial customs of the Han dynasty. Zhang highlights objects through an in-depth look at highlights in the exhibition.
View a time-lapse of a terracotta horse as it's unwrapped and installed at the Asian Art Museum. China's Terracotta Warriors will be on view at the Asian Art Museum form February 22–May 27, 2013.
Kevin Simmonds reads a poem he wrote in response to the exhibition Phantoms of Asia: Contemporary Awakens the Past (on view at the Asian Art Museum from May 18–September 2, 2012). This presentation was part of MATCHA. Co-presented by Litquake.
Varanasi was once known as “Kashi,” the city of light. During the Muslim and British periods, it was known as Banaras. It is believed to be one of the oldest cities in the world. Learn more.
A short documentary about one of India's most sacred cities, Varanasi.
Vase with broad mouth. China; Xing kilns, Hebei province. Tang dynasty (618–906). Porcelain. The Avery Brundage Collection, B60P394.
Vase with cover (hu). China; Central Plains. Western Han dynasty (206 BCE–9 CE). High fired ceramic with molded low-relief and painted decoration. The Avery Brundage Collection, B60P2391.
Vase, Qing dynasty (1644-1911), Reign of the Kangxi Emperor (1662-1722). China; Jiangxi province. Porcelain. The Avery Brundage Collection, B60P64.
Vessantara and his family enter the forest, a scene from the next-to-last life of the Buddha (Vessantara Jataka), 1850–1900. Central Thailand. Paint and gold on cloth. Asian Art Museum, Gift from Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.80.4. Photograph © Asian Art Museum.
Vessel in the shape of a duck, approx. 200-300. Korea; ancient region of Gaya. Earthenware. The Avery Brundage Collection, B63P13+.
Michael Knight, Curator Emeritus of Chinese Art at the Asian Art Museum shows viewers how one would view a Chinese handscroll.
A visual tour of important sites in Tibet.
Learn about the Hindu deity Vishnu and his avatar Krishna, and hear a story about Krishna defeating the serpent Kaliya.
Discover why crowns are important in South and Southeast Asian art and how the crown on a statue of the Hindu deity Vishnu was restored by Asian Art Museum conservators.
Asian Art Museum Storyteller Leta Bushyhead tells a scene from from the Rama epic (Ramayana) with the use of artworks in the museum's collection. Discover more fresh takes on this ageless tale in the exhibition, The Rama Epic: Hero, Heroine, Ally, Foe.
Daniel Byers discusses the Himalayan Kingdom of Mustang during the PechaKucha Night at the Asian Art Museum.
Geared for the visually impaired: Hear a visual description of Daughters Are for Others (2006), by Shalinee Kumari (Indian, b. 1985). Ink and colors on paper. Experience this artwork in the exhibition, Painting Is My Everything: Art from India's Mithila Region, (on view at the Asian Art Museum Sept. 7 to Dec. 30, 2018).
Geared for the visually impaired: Hear a visual description of Monuments in Washington, DC (1977), by Sita Devi (Indian, 1914–2005). Ink and colors on paper. Experience this artwork in the exhibition, Painting Is My Everything: Art from India's Mithila Region (on view from Sept. 7 to Dec. 30, 2018).
Geared for the visually impaired: Hear a visual description of The Hindu deity Kali (1988), by Baua Devi (Indian, b. 1944). Ink and colors on paper. Experience this artwork in the exhibition, Painting Is My Everything: Art from India's Mithila Region (on view from Sept. 7 to Dec. 30, 2018).
Carl Gellert, PhD Candidate, UC Berkeley, discusses art and artifacts from Japan at the Japan Teacher Institute at the Asian Art Museum in partnership with the University of California at Berkeley History–Social Science Project.
Among the Yongle emperor’s many efforts to demonstrate his right to the throne, none has gained more attention in recent years than the journeys of the emperor’s principal admiral, the eunuch Zheng He (1371–1433)...
Asian Art Museum Associate Curator of South Asian Art, Natasha Reichle, gives the Asian Art Museum docents a tour of the latest rotation of objects in the museum's Southeast Asia galleries. The galleries feature works of art in the museum's collection from Bali, which complement the exhibition, Bali: Art, Ritual, Performance, on view at the Asian Art Museum from February 25-September 11, 2011.
War fan (gunsen), 1800–1850. Japan. Edo period (1615–1868). Iron, bamboo, paper, colors, and lacquer. Bequest of Frank D. Stout, F1998.40.2.5.
Hear Christian Cabuay, artist and author of An Introduction to Baybayin and Julie Seltzer, artist and Torah scribe-in-residence at the Contemporary Jewish Museum, share their perspectives. A multimedia collaboration between the Asian Art Museum and the Contemporary Jewish Museum.
In conjunction with the exhibition, Gorgeous, staff of the Asian Art Museum challenged people to discuss extremes and ambiguities extending beyond conventional notions of beauty to be perceived as gorgeous.
Jeffrey Durham, Associate Curator of Himalayan Art at the Asian Art Museum answers the question What is a mandala? at the entrance to the exhibition, Enter the Mandala at the Asian Art Museum.
Arisa White reads a poem she wrote in response to the artwork, "Jingming Point," 1990 by Guo Fengyi. This work is in the exhibition Phantoms of Asia: Contemporary Awakens the Past (on view at the Asian Art Museum from May 18-September 2, 2012). This presentation was part of MATCHA Co-presented by Litquake.
The Sikh religion arose in Punjab, a region that is now divided between India and Pakistan. Its followers consider themselves disciples of ten esteemed gurus, or teachers, the first of whom was Nanak (1469–1539), Sikhism’s historical founder. Although Hindu by birth, Nanak also embraced aspects of Muslim teachings, later proclaiming, “There is no Hindu, there is no Muslim.”
In conjunction with the exhibition, Gorgeous, staff of the Asian Art Museum challenged people to discuss extremes and ambiguities extending beyond conventional notions of beauty to be perceived as gorgeous.
In conjunction with the exhibition, Gorgeous, staff of the Asian Art Museum challenged people to discuss extremes and ambiguities extending beyond conventional notions of beauty to be perceived as gorgeous.
In conjunction with the exhibition, Gorgeous, staff of the Asian Art Museum challenged people to discuss extremes and ambiguities extending beyond conventional notions of beauty to be perceived as gorgeous.
Asian Art Museum Art Speak interns use wheatpasting techniques to publicly display copies of their woodblock prints on the (de)appropriation wall.
In remembrance of the 75th anniversary of the incarceration of Japanese Americans in internment camps across the U.S. during World War II, the museum presents a weeklong exhibition featuring When Rabbit Left the Moon, the video artwork of filmmaker Emiko Omori. We welcome Omori, her sister Chizu Omori, psychiatrist Satsuki Ina and artist Masako Takahashi to share their stories and memories of the past, and what it means for us in the present day. Deputy Director of Arts & Programs Robert Mintz will moderate the discussion.
White phoenix on a pine tree (approx. 1920-1940), by Kamisaka Sekka (1866–1942). Japan. Hanging scroll; ink and colors on silk. The Avery Brundage Collection, 1995.50
An Asian Art Museum Art Speak video project, which asks people on the streets of San Francisco: "Why is the burger the icon of American?" Filmed, directed, and edited by Art Speak interns in collaboration with TILT (Teaching Intermedia Literacy Tools).
Willow Tree, approx. 1800-1900. By Otagaki Rengetsu (1791–1875). Japan. Hanging scroll, ink on paper. Gift of the Connoisseur’s Council and J. Sanford and Constance Miller, The Avery Brundage Collection, 1990.213
Wine cup in the shape of a turban gourd, approx. 1625-1650. Northern India or Pakistan. Nephrite. The Avery Brundage Collection, B60J485.
Woman's shawl (manton de Manila), approx. 1920. China. Silk. Gift of Consuelo H. McHugh in memory of Juanita S. Hall, F2008.36. Photograph © Asian Art Museum of San Francisco.
Woman’s blouse (camisa), approx. 1850-1950. Philippines, Luzon Island. Pina and cotton (?). Museum Purchase, 2014.43. Photograph © Asian Art Museum of San Francisco.
Wood Gatherer, by James Jean (Taiwanese, born 1979), 2008. Blue pencil and digital print. Gift of Yoko Woodson, 2009.3.1-2.
Watch Art Speak interns create woodblock prints inspired by their perspectives on place and identity.
Asian Art Museum Art Speak interns discuss India and identity with artist and animator Sanjay Patel.
San Francisco Unified School District's Director of Multicultural and World Language Instruction Margaret Peterson moderated a panel discussion with Mr. Bill Sanderson (San Francisco Unified School District), Ms. Ericka Lovrin (George Washington High School), Dr. Midori McKeon (San Francisco Unified School District), and Mr. Yo Azama (North Salinas High School) about world language education policy within the San Francisco Unified School District; the current situation and importance of the Japanese language education; and incentives and opportunities for Japanese language learners at the Japanese Language Symposium held at the Asian Art Museum of San Francisco on February 18, 2012.
Learn about the worship of the Goddess in South Asia.
Wrapping cloth (bojagi), Joseon dynasty (1392–1910), 1800–1900. Korea. Patchwork silk with jewel motif. Acquisition made possible by Mrs. Ann Witter, 2002.7.
Writing box (suzuribako), 1800–1900. Japan. Edo period (1615–1868) to Meiji period (1868–1912). Gold, silver, and lacquer on wood. The Avery Brundage Collection, B75M1b.
Writing box with lid decorated with a duck and reeds (1700-1900). Japan; Edo period (1615–1868). Lacquered wood. The Avery Brundage Collection, B69M29.
How does language define culture? What does it mean to strip meaning from language? The art of Xu Bing raises these stirring questions. Globally known for his contemporary and dynamic style, the renowned Chinese artist made a special appearance at the Asian Art Museum to talk about influences on his art, specifically his works since 2008.
Key concepts and vocabulary to help students prepare to visit Yoga: The Art of Transformation.
Ann Dyer mines the exhibition, Yoga: The Art of Transformation, to create a sensory performance that calls on the power of voice, word and sound expressed in yoga philosophies and texts throughout the ages.
Dyer, Director of the Vak Choir of "everyday" voices, finds inspiration in the vast array of usages of sound that span the yoga tradition — including Vedic mantra, Tantric bija mantras, kirtan, naada yoga, sanskrit, and the roots of classical Indian music — to create contemporary works that reconnect participants and audience alike with the innate power of sound as a tool of transformation.
Yoga: The Art of Transformation is the world's first major art exhibition about yoga. The exhibition explores yoga's fascinating history and its transformation into a global phenomenon. Highlights include stunning masterpieces of Indian sculpture and painting, pages from the first illustrated book of yoga postures, and a Thomas Edison film, Hindoo Fakir (1902), the first American movie ever produced about India. On view at the Asian Art Museum from Feb 21–May 25, 2014.
Curators from the Asian Art Museum and the Arthur M. Sackler Gallery, Smithsonian Institution discuss concepts of yoga and the artworks in the exhibition, Yoga: The Art of Transformation (on view at the Asian Art Museum from Feb. 21–May 25, 2014). Available on iTunes U.
Perfumer Yosh Han discusses the art of aromas at the Asian Art Museum on a Thursday evening at the museum.
Zhang Jianjun's work, Vestiges of a Process: Shanghai Garden, is on view at the Asian Art Museum from February 5 - September 12, 2010. Vestiges of a Process: Shanghai Garden is situated closest to Lee Gallery the east side of North Court. It is an installation composed of two silicone rubber Taihu rocks, manufactured from molds of real Taihu rocks which in traditional garden culture are prized for providing city dwellers with a kind of symbolic access to nature. The rocks are accompanied by a silicone rubber vase. Together they are arrayed atop a pavement of gray antique bricks, acquired from the demolition of Shanghai houses constructed between 1923 and 1926. Visitors can walk between the rocks, reflecting on time and process.
Contemporary artist Zheng Chongbin and art historian Tony Godfrey discuss contemporary ink painting, with a focus on Zheng Chongbin's artistic practice and recent works.
Asian Art Museum Art Speak interns create zines based on their perspectives on place and identity.
For the Artist Drawing Club series, Nick Dong explored the patterns and the ways in which they come together to form culture and create a visual language to transmit ideas. Reflecting on the exhibition Emperors’ Treasures: Chinese Art from the National Palace Museum, Taipei, Dong created an immersive, interactive installation of a “circular sky” and a “square earth," invoking ancient Chinese iconography of heaven and earth. Through this cosmological pattern, Dong recognizes the rich and wondrous culture in the exhibition and its place in the modern world.