Resources

Ewer with chrysanthemum scroll, approx. 1100-1200. China; Shaanxi province Northern Song dynasty (960–1126). Yaozhou ware, glazed high-fired ceramic with carved decoration. The Avery Brundage Collection, B60P1233.

Join us for an evening with Holland Cotter—a 2009 recipient of the Pulitzer Prize and the chief art critic of the New York Times—as he speaks with Vishakha Desai, President and CEO of Asia Society, and Jay Xu, Director of the Asian Art Museum, about his enthusiasm for and experience in developing critical writing about Asian contemporary art.

Decorated pages intended for a Koran, approx. 1500. Turkey. Manuscript page; Gold and colors on paper. Gift of Elton L. Puffer, 2004.67.

Cup with high handle, approx. 2500–1900 BCE. China; Shandong province. Neolithic period, Longshan culture (approx. 2500-1900 BCE). Gift of Bruce and Terese Bartholomew, 1998.30.

Covered ritual wine vessel (gong), approx. 1050–900 BCE. China; Western Zhou dynasty (1050–771 BCE). Bronze. The Avery Brundage Collection, B60B1004.

Michael Knight, Senior Curator of Chinese Art at the Asian Art Museum, and Jerry Yang, Collector and Co-founder of Yahoo!, discuss collecting Chinese calligraphy in conjunction with the exhibition, Out of Character: Decoding Chinese Calligraphy (on view at the Asian Art Museum from October 5, 2012–February 13, 2013).

Dr. Sanford Tom explores Huangshan (or the Yellow Mountain), which is often considered the most beautiful as well as the strangest mountain in China.

Javellana, S.J., Professor of Art, Ateneo de Manila University speaks about art and Christianity from a historical perspective. He also explore some of the artworks presented in the exhibition at the University of San Francisco called Galleons and Globalization: California Mission Arts and the Pacific Rim (on view August 20- December 19, 2010).

Students will explore the museum or online exhibition to research and complete their K-W-L charts.

The religious fervor and opulence of the Goryeo dynasty (918-1392) can be seen in the intricately hand-copied sutras (the teachings of the Buddha) that date to this period. Korean monk-scribes were commissioned by royals, aristocrats, and individual high-ranking monks to write the sacred words of the Buddha by applying pigments of ground gold and silver to deep indigo–dyed mulberry paper. They began by pictorially narrating the sermons of the Buddha with key episodes within the sutra chapter on the frontispiece (first four sutra panels). The rest of the sutra comprised flowing calligraphy translating the Buddha’s teachings.