Connoisseurship

Exhibition

Exhibition Overview

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Connoisseurship
María Román Navarro, curator
February 28, 2004–May 24, 2004
Asia Gallery, Spencer Museum of Art, University of Kansas, Lawrence, Kansas

Organized by María Román Navarro, the Spencer’s curator of Asian art, this exhibition features a selection of objects from China and Japan illustrating several themes. Two of these themes are illustrated through Chinese objects. One is the use of visual arts in burial customs and the other is the representation of Daoist beliefs through icons and furnishings. The arts of Japan allow us to explore three other themes. The first considers the strength and ubiquity of Buddhist beliefs as demonstrated by both sumptuous images and mass-produced prints. Another addresses later Japanese history when Japan opened itself to Western influences. This aspect of art history is represented by prints and paintings incorporating Western ideas and techniques. The final theme explores the Japanese perception of ceramics as works of art, especially in relation to "texts" (potter’s marks and box inscriptions).

Works of art

Man Riding Pony, Sui dynasty (581–618)
Lady Riding Pony, tomb figurine, Sui dynasty (581–618)
female tomb attendant, 600s, Sui dynasty (581 CE–618 CE) to early Tang dynasty (618 CE–907 CE)
male tomb attendant, 600s, Sui dynasty (581 CE–618 CE) to early Tang dynasty (618 CE–907 CE)
Daoist Immortal, 1800s, Qing dynasty (1644–1911)
lamp globe, 1800s, Qing dynasty (1644–1911)
lamp stand, 1800s, Qing dynasty (1644–1911)
Shichibei
pedestal bowl, Edo period (1600–1868)
Itō Sekisui V
tsubo, mid-late 1900s
Miyagawa Kōzan
bowl with chrysanthemums, late 1800s, Meiji period (1868–1912)
Miyagawa Kōzan
screen with osugata (Buddhist pilgrimage prints), mid 1900s, Showa period (1926–1989); prints from Edo period (1600–1868) to Meiji period (1868–1912)
Miyagawa Kōzan
Warrior Haniwa, late 400s, Kofun period (250 CE–552 CE)
Miyagawa Kōzan
Nyōirin Kannon Star Mandala, late 1700s, Edo period (1600–1868)
Miyagawa Kōzan
Kannon (Avalokitesvara), 1300s–late 1400s, Nambokuchō period (1337–1392) to Muromachi period (1338–1573)
Miyagawa Kōzan
Gōshō Mandara (Mandala of Amitābha’s Welcoming Descent), possibly 1800s, Edo period (1600–1868)
Miyagawa Kōzan
Inbutsu (stamp print) of Fudō Myōō, 1200s–1300s, Kamakura period (1185–1333) or Muromachi period (1336–1573)
Miyagawa Kōzan
Narita Fudō (Acalaratha), possibly 1800
Mitsuyu Chihagi
Seated Woman, mid 1930s, Showa period (1926–1989)
Utagawa Toyoharu
Kawanabe Kyōsai; Sawamuraya Seikichi
Jigoku dayū (Hell Courtesan), 1874, Meiji period (1868–1912)
Toyohara Chikanobu
Watanabe Nobukazu
Adachi Ginkō; 佐々木豊吉 Toyokichi Sasaki
Kijō saihō no zu (Picture of Noble Ladies Sewing), 1887, Meiji period (1868–1912)
Okamoto Shūki
Peacock on a Rock, early 1800s, Edo period (1600–1868)