Art, Agency, Empire: India in Global Contexts

Posted in conferences (to attend), graduate students, lectures (to attend) by Editor on February 7, 2012

From the YCBA:

Art, Agency, Empire: India in Global Contexts — Graduate Student Symposium
Yale Center for British Art, New Haven, 11 February 2012

Edward Lear, "Kangchenjunga from Darjeeling," detail, 1879 (New Haven: Yale Center for British Art)

This one-day graduate student symposium is informed by the recent proliferation of projects on India’s visual and material culture, including two exhibitions that opened at the Center in the fall of 2011: Johan Zoffany RA: Society Observed (October 27, 2011– February 12, 2012), which includes a substantial section devoted to the works the artist produced during his residence in India, between 1783 and 1789; and Adapting the Eye: An Archive of the British in India, 1770–1830 (October 11–December 31, 2011), which concentrated on the complex networks of British and Indian artists, patrons, and scholars in the late eighteenth and early nineteenth centuries.

Art, Agency, Empire: India in Global Contexts explores how, in a postcolonial period, it has become increasingly pressing to reevaluate India as a site of multifarious cultural (indeed intercultural) production, which has provoked global responses across media. The symposium is free and open to the public; registration is required. Online registration is available from January 16 to February 9, 2012. Onsite registration is available on February 11 from 8:30 am.

The program will include papers by graduate students (listed here) as well as breakout sessions in the Johan Zoffany exhibition and Center’s collections.

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Keynote Lecture, 5:30 pm
Gillian Forrester (Curator of Prints and Drawings Yale Center for British Art)
In the Cock-Pit: Zoffany and the Performance of Empire in India

Exhibition: Colorful Realm in Washington

Posted in books, catalogues, exhibitions by Editor on February 7, 2012

Thanks to Courtney Barnes at Style Court for noting this one. From the National Gallery of Art:

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Colorful Realm: Japanese Bird-and-Flower Paintings by Itō Jakuchū (1716–1800)
National Gallery of Art, Washington, D.C., 30 March — 29 April 2012

Celebrating the centennial of Japan’s gift of cherry trees to the nation’s capital, this exhibition features one of Japan’s most renowned cultural treasures, the 30-scroll set of bird-and-flower paintings by Itō Jakuchū. Titled Colorful Realm of Living Beings (J. Dōshoku sai-e; c. 1757–1766), these extraordinary scrolls are being lent to the National Gallery of Art by the Imperial Household. Their exhibition here—for one month only—provides a unique, once-in-a-lifetime opportunity: not only is it the first time all 30 paintings will be on view in the United States, but it is also the first time any of the works will be seen here after their six-year-long restoration.

Colorful Realm stands as the most dynamic and comprehensive—yet meditative and distilled—expression of the natural world in all of Japanese art. Synthesizing numerous East Asian traditions of bird-and-flower painting, the set depicts each of its 30 subjects in wondrously meticulous detail, but in such a way as to transcend surface appearances and capture the otherwise ineffable, vital essence of the cosmos, the Buddha nature itself. To present the full significance of Colorful Realm, the exhibition and its catalogue reunite this masterpiece with Jakuchū’s triptych of the Buddha Śākyamuni from the Zen monastery Shōkokuji in Kyoto. Jakuchū had donated both works to the monastery, which displayed them in a large temple room during Buddhist rituals.

Recent conservation of Colorful Realm has generated an entirely new awareness of the material profile of the set and the technical means by which Jakuchū created each scroll. Drawing upon these findings as well as the most recent research on Jakuchū’s life and cultural environment, this exhibition offers a multifaceted understanding of the artist’s virtuosity and experimentalism as a painter—one who not only applied sophisticated chromatic effects but also masterfully rendered the richly symbolic world in which he moved.

The earliest of the 30 scrolls, Peonies and Butterflies, combines two subjects that enjoyed great popularity in East Asian pictorial traditions. On the one hand, the peony flower was likened to both feminine beauty and prosperity. It became the preferred garden flower of the imperial and aristocratic elite during China’s Tang dynasty (618–907) and at the court of Emperor Xuanzong in particular; in East Asian literary traditions Li Bai’s verse likening the beauty of Xuanzong’s favorite consort Yang Guifei (719–756) to a peony cemented the flower’s association with feminine beauty. Meanwhile, its full and gorgeous appearance lent itself to uncomplicated associations with affluence and good fortune. The butterfly also served as an auspicious symbol, though its popularity was equally attributable to its appearance in one of the most famous parables in early Chinese thought: Zhuangzi’s dream of a butterfly. According to this parable, the legendary sage Zhuangzi dreams that he is a carefree yellow butterfly. Upon awakening, however, “he didn’t know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi.” Paintings of butterflies inevitably invoked the oneiric setting and queried selfhood of the Zhuangzi anecdote in most East Asian contexts and particularly in Jakuchū’s circle of erudite Sinophile monks, scholars, and merchants. While visually opulent, Peonies and Butterflies also suggests the uncertainty of a just-awoken dreamer who momentarily confuses reverie with reality.

Careful study of the painting’s pigmentation points to Jakuchū’s remarkable distillation and intensification of traditional East Asian coloration techniques. Different grades of opacity and transparency are achieved in the butterflies, flowers, stems, and leaves by varying the use of mineral and vegetal pigments, occasionally layering them one on top of another and adding a sublayer of color on the back of the silk. This complex stratigraphy of colors results in a convincing imbrication of the motifs in their surroundings. Indeed, when Jakuchū’s cultural and spiritual mentor Daiten (1719–1801) encountered the painting in 1760, he titled it “Beautiful Mist and Fragrant Wind” (Enka kōfū), suggesting that the real subject here was not the peonies and butterflies, but the conceptual atmosphere that enveloped them, the invisible ether within which they swayed and glided.

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Exhibition catalogue: Yukio Lippit, with Ota Aya, Oka Yasuhiro, and Hayakawa Yasuhiro, Colorful Realm: Japanese Bird-and-Flower Paintings by Itō Jakuchū (Chicago: University of Chicago Press, 2012), 224 pages, ISBN: 9780226484600, $50.

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Public Conference: The Art of Itō Jakuchū
National Gallery, East Building Concourse, Auditorium, 30 March 2012, 10:00 to 5:00

Illustrated lectures by noted scholars and conservators of Japanese art. This program is co-organized by the Center for Advanced Study in the Visual Arts, National Gallery of Art, and the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution. Presented in honor of the National Cherry Blossom Festival.

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