Three interesting portraits on ivory of Mughal ladies of the imperial zenana were acquired by the Visual Arts section in 2012, now numbered Add.Or.5719-5721. All three were mounted in one frame with pasted down inscriptions below relating to the subject and the artist, while attached to the back of the frame were three envelopes which once contained the miniatures and which were written further particulars. The paintings were sold in Delhi in these envelopes in 1900 by Sultan Ahmad Khan, who styles himself the son of one painter Muhammad Fazl Khan and grandson of another painter Muhammad ‘Azim, both of whom are named as artists in the inscriptions. The purchaser must have put them into their present gilt frame and fortunately also preserved the various inscriptions and attestations. All three are supposed to be portraits of some of the wives of the Mughal Emperor Akbar II (r. 1806-37). For a more correct appreciation of who they might be, we rely on that invaluable on-line resource, The Royal Ark. None of these ladies’ names unfortunately appears among the numerous wives of Akbar II, but that does not necessarily detract from the validity of the inscriptions of artistic interest.
See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2014/12/artistic-visions-delhi-zenana.html#sthash.XpaRep9e.dpuf
One of the most significant artists to emerge in post-Independence India, Nasreen Mohamedi (1937–1990) created a body of work that demonstrates a singular and sustained engagement with abstraction. Her minimalist practice not only adds a rich layer to the history of South Asian art but also necessitates an expansion of the narratives of international modernism. The Met Breuer exhibition, the first museum retrospective of the artist’s work in the United States, is an important part of the Met’s initiative to explore and present the global scope of modern and contemporary art.
NEW YORK, NY.- March 10th kicks off Asia Week New York, the extraordinary ten-day extravaganza that animates New York with a glorious array of prized Asian works of art.
Originating from every corner of the Asian continent, the artworks will be shown throughout Manhattan by international Asian art specialists starting March 10 through March 19. In the museum-quality presentations by 45 galleries, art lovers can take in the rarest and finest examples of painting, sculpture, bronzes, ceramics, jewelry, jade, textiles, prints and photographs from all over Asia.
“Each year at this time, just as the flavor of spring arrives in the air, another phenomenon electrifies the atmosphere of New York: Asia Week!” exclaims Lark Mason, Chairman of Asia Week New York 2016 and owner and founder of iGavel Auctions. “And each year, in-the-know aficionados look forward to this 10-day event with great expectation. And why shouldn’t they? Asia Week, now celebrating its seventh anniversary, is more exciting than ever.”
Organized by category and region, here is a roundup of the not-to-be-missed exhibitions by the participating galleries:
ANCIENT/AND OR CONTEMPORARY INDIAN, HIMALAYAN AND SOUTHEAST ASIAN ART
Four-day event is billed as “the world’s largest non-commercial platform for South Asian art” 4 February 2016 – The Art NewsPaper
A key art-historical exhibition throwing new light on historic post-war works by South Asian artists forms part of the third Dhaka Art Summit in Bangladesh, which opens tomorrow (5-8 February). The show, entitled Rewind, features 12 artists including the late Bangladeshi practitioner Rashid Choudhury and Indian-born Monika Correa. The Indian art collector Amrita Jhaveri is sponsoring the exhibition, which is part of a programme encompassing solo art projects, group shows, panel discussions, and workshops.
The highlight of most wedding ceremonies is two people making their vows to each other by promising to be true to each other ‘for better, for worse … till death us do part’. But what happens when they die? Where does all the eternal love sworn by innumerable couples go? We first explored the subject in East Asian ghoulish images & stories last year; this year we concentrate on one particular story to investigage the possibilities of love after death. – See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2015/10/till-death-us-do-part-or-not.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+asian-and-african+%28Asia+and+Africa%29#sthash.cifY0dJa.dpuf
Japan’s Meiji period (1868–1912) is commonly described as a time of quick economic and political modernization and self-conscious competition with Western military might and colonial aspirations. The Meiji Restoration of 1868 marked the end of the feudal rule, of an agriculturally dependent economy, and of Buddhism as the official state religion (replaced with Shintô, which holds the emperor to be divine). Under the reign of Emperor Mutsuhito, Japan adopted a constitution with an elected parliament, built military might, experienced massive transportation and industrial industry growth, and put in place a national education system. Pale Pink and Light Blue, a current exhibition at the Museum for Photography in Berlin’s Kunstbibliothek, captures one aspect of the period’s.
Double-page opening to the tales of the two jackals Kalilah and Dimnah, by Naṣr Allāh ibn Muḥammad, dated AH 707/1307-8. Here the king is enthroned on the left, surrounded by courtiers with two lions beneath and, on the right, hunting cheetahs, a horse and a hawk – See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2015/08/cats-in-persian-manuscripts.html#sthash.zofw507e.dpuf
Since August 8th is International Cat Day, it seemed a good excuse to publish some of the more picturesque felines from the manuscripts we have been working with during the last three years of our project ‘Digital Access to Persian Manuscripts’. – See more at: http://britishlibrary.typepad.co.uk/asian-and-african/2015/08/cats-in-persian-manuscripts.html#sthash.zofw507e.dpuf
Exterior of National Gallery Singapore (courtesy National Gallery Singapore, via Flickr)
The largest public collection of modern Southeast Asian art is opening this October, and the institution that will house it just announced a collaborative exhibition with the Centre Pompidou in 2016. National Gallery Singapore (NGS) joins two historic buildings — the city-state’s former Supreme Court and City Hall — with an adaptive reuse design by studioMilou Architecture. A gold roof of 15,000 aluminum panels sweeps between the neoclassical structures, with a light-strewn courtyard constructed in the center.