The Curated Object

Exhibitions Santa Ana. Sacred Gold: Pre-Hispanic Art of Colombia. The Bowers Museum. The Curated Object

 

 Emerald-set gold rosary. 17th century.

 

 

courtesy of The Bowers Museum

 

courtesy of the Bowers Museum

 

Courtesy of The Bowers Museum

 

Courtesy of The Bowers Museum

Sacred Gold: Pre-Hispanic Art of Colombia 

March 31-July 1, 2012

This rich exhibit traces the legacy of gold in pre-Hispanic Colombia in over 200 exceptional objects, supplemented by text, map, chronology, and photographs that put in context the pieces that make up this extraordinary collection from the renowned Museo del Oro and the Banco de Republica, Bogotá, Colombia. 

Goldsmithing in Colombia is believed to date from about 800 B.C. and is the source for some of its greatest artwork. For the pre-Hispanic cultures of present-day Colombia, gold held no monetary value; it was a gift from the Sun and held a deep symbolic meaning.  Gold’s physical and chemical properties inspired the creation of expertly crafted figures of spirits, animals and humans that communicated this culture’s understanding and philosophy of the universe and all that existed within it.  Gold is impervious to virtually all corrosives and the pristine examples, used by both ordinary and extraordinary members of the community, include; nose rings, earrings, breastplates, and pendants as well as complex showy objects including body adornments and votive figures, all symbols of rank and power. The objects within this exhibition reinforce the importance of archaeology’s role in reconstructing the past in order to provide valuable information for the living.

For nearly 2000 years prior to the Spanish conquest, Indians in South America were creating gold pieces and developing skills and techniques whose sophistication equaled or surpassed those of their contemporaries in Europe.  The Spaniards were so impressed with the gold work of these Indians they conquered in the 16th century, that one of the world’s most enduring myths developed as a result--- the imaginary land of El Dorado. 

Your quest for El Dorado need only be as far as the Bowers Museum.

For more information please visit: The Bowers Museum

 

Exhibitions Santa Ana. Art of the Samurai. The Bowers Museum. The Curated Object

Art of the Samurai: Selections from the Tokyo National Museum

April 19–June 14, 2009

SANTA ANA, CA—Art of the Samurai: Selections from the Tokyo National Museum features 81 objects from the Tokyo National Museum, representing the art and aesthetics of the samurai culture of Japan. This collection dates primarily to the Edo period (1603–1868) with many pieces classified as Important Cultural Property and National Treasures. The exhibition features various objects that are a testament to the accomplished level of society, education, and skills developed by the samurai during the 10th and 20th centuries. Some objects included are handcrafted swords, armor, tea-ceremony utensils, screen and scroll paintings, Noh theatre costumes, and other fine works. Art of the Samurai: Selections from the Tokyo National Museum opens at the Bowers Museum on April 19, 2009, and remains on view through June 14, 2009, in the Anderson-Hsu-Tu Gallery.

For nearly 700 years, from the latter half of the 12th century until the Meiji Restoration in 1868, the military bushi (warrior class) were at the helm of government in Japan. During the mid-Heian period (10th century), groups of bushi warriors formed throughout the country. Because some of the warriors served the centrally located nobles in Kyoto, they were called samurai or, literally, “those who serve in close attendance to nobility.” Originally, their social position was low and they were considered as assistants or attendants; however, in the Edo period, the samurai began using armed force and became more powerful. They created a culture of their own based on the lifestyles of the nobles, which was marked by strength and simplicity. The life of the warriors was simple, and their philosophy stressed the importance of bravery and dedication to their lords, as well as their clans and houses. This became the basis of bushido (way of the warrior) and elevated the samurai into a refined social class.

Art of the Samurai: Selections from the Tokyo National Museum illustrates the multiple aspects of samurai life from their battle regalia to daily way of living. The exhibition consists of two thematic sections revealing the samurai legacy: Attire of the Samurai, which mainly features swords and armor; and Samurai Culture, featuring costumes for Noh performance and tea ceremony paraphernalia, plus examples of their everyday items, including garments, accessories, and furnishings. In addition, the exhibition includes the Chronicle of Yoshitsuni screen loaned by Etsuko and Joe Price, and the Shin'enKan Foundation of Los Angeles.

Samurai viewed the battlefield as a place to display their bravery and honor, and they were granted lands from their lords when achieving military success. They risked their own lives to make names for themselves as heroic and skilled warriors and wore their battle attire with pride. This sense of duty influenced the colorful designs of Japanese armor. Domaru Gusoku Style Armor with White Lacing (17th century) reflects this type of brightly decorated and highly embellished armor. The Domaru-style armor had an opening under the right arm and was preferred by high-ranking warlords for its greater agility and light weight.

Swords were the most important tools for the samurai and cherished to such a degree that they were referred to as their spirit. Japanese swords are known for their unique curvature, a characteristic developed during the early 11th century. To receive one as a gift from the shogun (head of military government) or daimyo (feudal lord) was held in high esteem. Usually, the samurai wore a long and short sword at their hip along the belt. The exhibition includes a tachi (high curve) sword made by the famous swordsmith Sukezane, a National Treasure from the Kamakura period (1192–1333). The external design of the sword features a shorter, sharper tip that creates a powerful impression.

Away from the battlefield, the samurai perceived Noh performance and tea ceremony as the two most important genres of cultural life. Noh theatre is an ancient art form that was created during the middle ages, where the women’s roles are played by men. The level of Noh drama developed from a form of entertainment enjoyed by commoners to an art form appreciated by members of the nobility and warrior class. With masks and costumes, Noh actors express the highly spiritual sense of the story and invite the viewers’ hearts to the world of yugen (profound grace and subtlety).

The Japanese tea ceremony, also known as cha-no-yu, was first brought to Japan from China by a Zen priest during the 12th century. Drinking tea took place in a tea ceremony room, with an alcove decorated with hanging scroll paintings or calligraphy, and specially designated utensils were used to enhance the sense of appreciation. The tea ceremony is not merely about drinking tea, but also an opportunity for the host and guest to interact with each other and express their feelings. Examples of Japanese tea instruments used for private tea gatherings by samurai families are displayed in the exhibition.

Edo Period

The Edo period was established in 1603. Tokugawa Ieyasu, the first shogun of the Tokugawa regime, governed the country from Edo (today known as Tokyo), although Kyoto and Osaka were the primary political, economical, and cultural centers at the time. In 1868, the period ended when imperial rule was restored with the Meiji Restoration. In 1615, Tokugawa destroyed the Toyotomi family with military campaigns in Osaka and established a dictatorial ruling system with his great militaristic and economic power. From that time, the following 14 generations of shogun, with a council of bureaucratic samurai, ruled Japan indirectly through vassals called daimyo in a feudal system.

Throughout the Edo period, the country was stable because no wars were large enough to endanger the government. A social system was established where people separated into immobile classes of samurai, farmers, industrial craftsmen, and merchants—each with education and culture suited to their respective classes.

Organization

Art of the Samurai: Selections from the Tokyo National Museum is organized by the Tokyo National Museum (TNM) and curated by Kazutoshi Harada, TNM Senior Research Chair. Julie Lee, Bowers Curator of Exhibitions, is coordinating the exhibition presentation at the Bowers Museum.

Publication

Art of the Samurai: Selections from the Tokyo National Museum is accompanied by a softbound, lavishly illustrated catalogue. The publication includes a message from Teiichi Sato, Tokyo National Museum Executive Director; preface by Peter C. Keller, Ph.D., Bowers Museum President; essays by Kazutoshi Harada and Nobuyuki Matsumoto, Tokyo National Museum Director of Curatorial Planning; and list of object labels and a historical chronology. Art of the Samurai: Selections from the Tokyo National Museum can be purchased at the Bowers Gallery Store.

Related Programs

The following lectures are presented in conjunction with the exhibition. For a list of other related events and films, please contact the Bowers Museum’s press office at 714.567.3642. All lectures take place in the Norma Kershaw Auditorium.

For more information please visit: The Bowers Museum

Posted by Joanne Molina

Exhibitions Santa Ana. Masters of Adornment: The Miao People of China. The Bowers Museum. The Curated Object

Masters of Adornment: The Miao People of China

Opens November 15, 2008

       

SANTA ANA, CA—Masters of Adornment: The Miao People of China presents women’s costumes, textiles, and silver jewelry from the Miao culture living in southwestern China. Featuring approximately 80 objects, mostly drawn from the Bowers Museum’s permanent collection, the exhibition includes several distinct examples of Miao women’s festive wear paired with finely crafted jewelry. More than an examination of masterful techniques and styles, these objects reveal hundreds of years of Miao history and tradition, and the required patience and dedication to achieve beauty. The exhibition opens at the Bowers Museum on November 15, 2008 and remains on view indefinitely in the Susan and Stephen Chandler Gallery.

With a population of over seven million, the Miao people make up one of the largest nationalities of the fifty-six recognized ethnic groups in China. They are an ancient culture with established roots that precede Han dynasty rule (206 B.C.–220 A.D.), perhaps by over a thousand years. Through the centuries, they have migrated south across China, settling in vastly diverse environments of southwestern China’s Guizhou, Sichuan, Guangxi, Yunnan, and Hainan Island provinces. Throughout these provinces, more than 150 Miao regional sub-groups are distinguished by, among other cultural differences, preference in dress and personal adornment.

Without a written language, the Miao have developed strong oral and visual traditions with symbolic patterns and imagery found in the embroideries, designs, and forms of their dress and jewelry. This visual language reveals a person’s status and wealth, and more complex information such as the environment in which they live and historical background. Symbolic designs are also incorporated into clothing and accessories to distinguish the various sub-group affiliations within their culture.

In general, Miao women’s clothing is more elaborate, colorful, and ornate than men’s attire. Textile production is the proud work of women who begin learning embroidery and batik dying techniques as early as six years old. By the time a girl is a young woman, she has mastered techniques that allow her to prepare special dresses suitable for festive and celebratory occasions. These elaborate ensembles may take a young woman up to five years to complete. Miao women lovingly prepare their clothing, taking time to create jackets and skirts inspired by tradition, and personalized through stitch and design.

Among the Miao living in the eastern regions of Guizhou, Dandu-style festival jackets feature batik-dyed fabrics with traditional fine spirals, scalloped-edge designs, and precise symmetrical patterns on the shoulders and sleeves. The jacket material is dyed with indigo, and made to be stiff and shine through various techniques of applying natural substances. Other garments, such as dyed pleated skirts, are found throughout all sub-groups of the Miao in different variations. These skirts are typically indigo-dyed and can have between 100–500 pleats, each with folds that are pinched into perfect form.

On special occasions, young women layer their jewelry of shiny crowns, hairpins, bracelets, necklaces, earrings, and clothing ornaments in a dazzling display of brilliance, movement, and sound. In some cases, a young woman’s adornments may weigh up to twenty pounds. These fine silver pieces are usually gifted or handed down to daughters through their families. Jewelry can be purchased from the village silversmith, an occupation reserved for men whose technique and artisanship is passed from father to son.

Miao dress and jewelry overall reflects the natural world that surrounds them. Believing to be descendents of Mother Butterfly, they are closely tied to the water-buffalo for labor and food, and motifs or representations of these animals appear regularly upon clothing and silver ornaments. Flowers, fish, birds, centipedes, and other elements taken from nature are always symbolic, often tied to attributes of wealth, happiness, fertility, and good fortune.

Location and Hours: The Bowers Museum is located at 2002 North Main Street, Santa Ana, CA 92706. Open hours are: Tuesday–Sunday, 10 am–4 pm; the fourth Thursday of every month, 10 am–8 pm. 

For more information please visit The Bowers Museum

Posted by Joanne Molina

Exhibitions Santa Ana. TERRA COTTA WARRIORS: GUARDIANS OF THE FIRST EMPEROR. The Bowers Museum. The Curated Object

TERRA COTTA WARRIORS: GUARDIANS OF THE FIRST EMPEROR
May 18-October 12, 2008

The Bowers Museum presents Terra Cotta Warriors: Guardians of China’s First Emperor, the largest loan of terra cotta figures and significant artifacts to ever travel to the U.S. from the tomb complex of China’s First Emperor, Shi Huangdi (259–210 B.C.). Considered one of the greatest  archaeological discoveries of the 20th century, the First Emperor’s enormous mausoleum features thousands of terra cotta warriors that were intended to protect him throughout eternity. Since their discovery, the terra cotta army has often been termed the Eighth Wonder of the Ancient World.

The exhibition provides a deeper knowledge of this historical site and showcases 100 sets of objects, which include approximately 20 complete life-size terra cotta figures representing all aspects of the Emperor’s army. Terra Cotta Warriors: Guardians of China’s First Emperor opens at the Bowers Museum on May 18, 2008 and remains on view through October 12, 2008. 

“We are so honored the Chinese government has allowed us to display these spectacular terra cotta warriors as ‘emissaries of goodwill’ in the U.S. during the time of the Summer Olympic Games in Beijing,” said Bowers Museum President Dr. Peter C. Keller. “While the world’s focus will be on China, the Bowers Museum will offer a once-in-a-lifetime opportunity to see these marvelous cultural attractions and help uncover the legacy of the First Emperor, right here at home.”

Co-organized by the Bowers Museum, Houston Museum of Natural Science, and National Geographic Society Museum, and Guest Curator Dr. Albert E. Dien, professor emeritus, Stanford University, Terra Cotta Warriors: Guardians of China’s First Emperor features the iconic terra cotta warriors alongside recently excavated sculptures of court officials, acrobats, generals, and bronze birds. The objects were drawn from 11 different collections in and near Xi’an, China, including the Museum of the First Emperor’s Terracotta Army and Horses, Shaanxi Provincial Institute for Archaeological Research, the Zhouzhi Museum, Baoji Museum, Xianyang Museum, Lintong Museum, Fengxiang Museum, Chencang Museum, Xi’an Institute for Archaeological Research and Protection, Baoji Archaeological Excavation Team, and Xianyang Institute for Archaeological Research. 

In 1974, a small group of farmers digging a well near the town of Lintong made a startling discovery of a terra cotta head. When archaeologists began excavating the area, they uncovered an astonishing scene: an immense subterranean vault containing long columns of life-size terra cotta warriors with armor, chariots, and horses standing in battle formation. The discovery subsequently led to scientific excavations that unearthed more than 1,000 life-size figures in three underground pits and up to 7,000 figures may be found in the future.

Construction of the First Emperor’s tomb took 38 years and began soon after he became King of the state of Qin. Although the tomb mound was visible aboveground, the terra cotta figures were a surprise when discovered because they had not been previously documented. The terra cotta army was created as an elite unit to guard the emperor in his afterlife. It is estimated that over 1,000 people were divided into 87 teams to produce the terra cotta warriors. They were all made by hand in assembly-line fashion and none are alike.

Human figures of soldiers, servants, musicians, acrobats, and animals were intended to create a familiar atmosphere for the emperor and meet his every need in the afterlife. Each figure has a different facial
expression and serves a unique purpose. Kneeling Archer is portrayed in full battle regalia and looks straight ahead with a firm gaze. Entertainers, such as acrobats, were recently unearthed in 1999. These figures are more expressive than the warriors and are depicted in active poses with short kilts. In 2002, several life-size bronze birds were excavated and reveal the same delicacy as the human figures. Crane exemplifies the bird’s beauty as it stands with a s-shaped neck, looking downward to catch a small fish.

To provide a visual context for visitors, the exhibition galleries will be specially designed to capture the power and spiritual essence of the First Emperor’s tomb complex. The first gallery will provide a dramatic backdrop for visitors and will include several terra cotta figures displayed together to emulate their overwhelming presence. The exhibition installation will take visitors on a journey of discovery that will be similar to the way archaeologists found the objects. All the works will be grouped together according to their pit numbers and documentation will be provided to further educate visitors about their significance. In addition, the exhibition will reveal the history behind the First Emperor’s life, his military achievements, and political successes.   

Credit
This exhibition is made possible in Southern California through the generosity of the Bowers Museum Host Committee: Dee Dee Anderson and David Poiry, Mr. and Mrs. Jim Y. Hsu, Donald and Dorothy Kennedy, Sharon and Tony Thompson, and Mary and John Tu. Exhibition sponsors include The PIMCO Foundation, Rohrer Fine Arts/Heather James Art & Antiques, and East West Bank with additional support from Resources Global

For more information please visit: The Bowers Museum

-Joanne Molina

Exhibitions Santa Ana. GEMS! Colors of Light and Stone. The Bowers Museum. The Curated Object

GEMS! Colors of Light and Stone
through June 18, 2008

“’GEMS! Colors of Light and Stone’ is the most important exhibition of colored gemstones, diamonds and gems as art ever shown in a U.S. museum.,” says Dr. Peter Keller, president of Bowers Museum, who is also a geologist and gemologist and who curates this exhibit.  “What is particularly impressive is that the collection was amassed by one individual in only about 14 years!”

Michael Scott, the first president of Apple Computer has a collection that rivals that of any national museum, if one excludes historic jewelry such as the Hope Diamond. The collection focuses on quality, but also on variety.  In “GEMS! Colors of Light and Stone” one will see most of the major gem species in every color and variety known.  In addition, one will see very rare examples of little known color varieties such as green tanzanites and "electric-blue" Paraiba tourmalines.  It also includes 25 examples of cut “collector” stones—those too rare to be used in the general jewelry trade.

The Scott Collection and the exhibition also focus on gemstones as art, largely German gem carvings by artists Bernd Munsteiner and Gerd Dreher and the work of Seattle-basedsilversmith/contemporary artist, John Marshall, plus some antique jewelry from the mid-19th to early 20th centuries.

The exhibit will feature dramatic lighting to showcase each piece, from gems in their natural state and those faceted by master gem-cutter. “The Scott Collection exhibits some of the finest examples of both rough crystals and cut stones known in collections today,” says Keller.  In addition, there will be gems displayed as jewelry and sculpture.  “It will be a very comprehensive look at gemstones and gems as art through the eyes of a very serious collector,” says Keller.

In addition to the traditional animal carvings done very much in the spirit of Fabergé, “Colors of Light and Stone” features the work of a master faceter, Bernd Munsteiner. In fact, the entire exhibition is capped off with the world's largest faceted gemstone…a 200 pound, or 500,000 carat, rutilated quartz titled “Metamorphos” by Munsteiner.

Finally, this exhibition features the work of Seattle-based master silversmith John Marshall. Marshall incorporates natural gem crystals into unusual silver sculptures to yield very unique works of art.   

For more information please visit: The Bowers Museum

-Joanne Molina