MIA: Chinese, South and Southeast Asian Art

Sharing artworks from the Minneapolis Institute of Art's Chinese, South and Southeast Asian Art department. Not associated with the museum.

[bm-asian-art]

Netsuke Depicting Ebisu and Fish, Masatomo, 19th century, Brooklyn Museum: Asian Art

Size: 1 3/8 x 1 1/8 in. (3.5 x 2.8 cm) Medium: Ivory

https://www.brooklynmuseum.org/opencollection/objects/100607

[mia-asian-art]

Apron, Date Unknown, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

nicely done; three-sided frame of alternating rows of batik and embroidery; center is a rectangular batik pocket; blue, white, red, green and yellow; navy blue band and lining; woven ties Size: 15 1/2 x 15 3/4 in. (39.37 x 40.01 cm) 21 1/2 in. (54.61 cm) (object part, ties) Medium: Cotton

https://collections.artsmia.org/art/94237/

[bm-asian-art]

Carving of a Recumbent Mythical Beast, late 18th-early 19th century, Brooklyn Museum: Asian Art

Size: 1 3/8 x 3 ½ in. (3.5 x 8.9 cm) Medium: Nephrite

https://www.brooklynmuseum.org/opencollection/objects/104147

[mia-asian-art]

Headcloth, 19th-20th century, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

headcloth, chador, silk with chainstitch embroidery of stylized flowers. Red, purple silk with blue silk borders. Size: 56 x 78 in. (142.24 x 198.1 cm) Medium: Silk; needlework

https://collections.artsmia.org/art/23965/

[mia-asian-art]

Garden Seat, 12th-13th century, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

drum-form seat with brown glaze overall; relief decoration of scrolling foliage and flowers with long, bare stems This barrel-shaped stool is embellished with an appliqué floral and tendril pattern in keeping with Sung (960-1279) and Yuan (1280-1368) taste. It is unusual to find ceramic garden seats dating to this early period, but a thermoluminescence test confirms a date of about 1250 for this rare object, making it one of the earliest ceramic stools known. Gardens with large decorative rocks became popular during Sung and outdoor seating made of stone in stone or glazed ceramics were often used in such settings. The Chinese genius for ceramics is expressed here in a lovely, yet functional, weather resistant object that would have been relatively inexpensive to produce. Size: 16 3/16 x 12 1/2 in. (41.1 x 31.75 cm) Medium: Stoneware with brown glaze

https://collections.artsmia.org/art/31217/

[mia-asian-art]

Baby Carrier, Date Unknown, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

silk center triangle and flower made up of floral embroidered pink, green and gold appliques; corner triangles are green silk floral embroidery; border top and bottom are pink and green silk with running Chinese geometric pattern; dark blue lining, cotton Size: 17 x 15 in. (43.18 x 38.1 cm) Medium: Silk, cotton; needlework

https://collections.artsmia.org/art/97544/

[mia-asian-art]

Man's Jacket, 20th century, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

black cotton; side front opening with 11 rolled red loops and green plastic buttons on commercial green print piping; sleeves have narrow applique rows alternating with commercial and hand embroidery in orange, red and blue; lined with tan cotton Size: 13 x 58 1/2 in. (33.02 x 148.59 cm) (sleeve end to sleeve end) Medium: Cotton, plastic; needlework

https://collections.artsmia.org/art/98151/

[mia-asian-art]

Three Ancient Poems in Cursive Script, Chen Chun, c. 1535, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

long central panel of script flanked on left by newer text, smaller in scale, and on the right by a single line of horizontal larger scale text Chen Chun, one of the most important Ming dynasty calligraphers and flower painters, was born into a modestly prosperous literati family. His first teacher was the great literatus, Wen Zhengming (1470-1559), and between 1519 and 1523 he studied at the Imperial Academy in Beijing. While initially influenced by the writing style of Wen Zhengming, Chen quickly developed a personal approach based more on the calligraphy of the ancient masters Mi Fu (1051-1107) and Yang Ningshi (873-954). His running and cursive scripts (Cao-shu) for which he is most famous display characteristic fluidity, boldness, and exuberance. The frontispiece to the handscroll is written by Chen's friend and teacher Wen Zhengming, leader of the Wu school. Wen's four-character title reads: Pai Yang (Chen Chun) the sage of cursive script In these three ancient poems Chen writes with the exuberant fluidity that made him, along with Zhu Yunming (1461-1527) and Wen Zhengming, one of the most important Ming masters of Cao-shu script. Size: 11 9/16 x 365 3/4 in. (29.37 x 929.01 cm) (image) Medium: Ink on paper

https://collections.artsmia.org/art/5791/

[bm-asian-art]

Hanging, 1 of 7 Pieces, 1610-1640, Brooklyn Museum: Asian Art

Size: 109 ¼ x 38 ½ in. (277.5 x 97.8 cm) Medium: Cotton, drawn and painted resist and mordants, dyed

https://www.brooklynmuseum.org/opencollection/objects/139338

[harvard-art-museums-calligraphy]

The Mayfly (Kagerō), Calligraphic Excerpt from Chapter 52 of the Tale of Genji (Genji monogatari), Son'ō Jugō, Muromachi period, datable to 1509-1510, Harvard Art Museums: Calligraphy

Harvard Art Museums/Arthur M. Sackler Museum, Bequest of the Hofer Collection of the Arts of Asia Size: H. 24.3 cm x W. 18.4 cm (9 9/16 x 7 ¼ in.) Medium: The fifty-second of a series of 54 kotobagaki (calligraphic album leaves) mounted in an album with illustrations; ink and color on paper

https://www.harvardartmuseums.org/collections/object/199661

[mia-asian-art]

Lady in Moonlight, Pushpamala N., 2000-2004 (printed 2016), Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

profile portrait of a woman in red sari seated on rocks; painted backdrop of moonlight scene over calm water and trees Pushpamala N. is a photo-performance artist based in Bangalore, India. From 2000 to 2004, she worked with British photojournalist Clare Arni to create Native Women of South India: Manners and Customs. The series focuses on idealized representations of women in Indian art of the historical periods, British colonial images of Indian women, and the more recent production of feminine stereotypes in contemporary visual culture. Drawing from a range of sources including historical paintings, colonial photography, regional cinema, and contemporary magazines, Pushpamala restages these images and reenacts the different roles that have been attributed to women. In reenacting these roles, the idea of “Indian women” as an ethnographic group is exposed as a stereotype no less fictive than the artist’s elaborate performance captured by British photojournalist Clare Arni’s camera. Size: 22 × 15 in. (55.88 × 38.1 cm) (image) 23 7/8 × 20 in. (60.64 × 50.8 cm) (sheet) Medium: Chromogenic print

https://collections.artsmia.org/art/125982/

[cma-korean-art]

Basin with Inscribed Figures and Calligraphy, 1100s-1200s, Cleveland Museum of Art: Korean Art

Silver inlay became very popular during the Goryeo period. This example shows rare decorative motifs, including roundels containing four-line poems interspersed among images of a child holding a flower. Size: Overall: 17 cm (6 11/16 in.); Diameter of mouth with rim: 21.7 cm (8 9/16 in.) Medium: bronze

https://clevelandart.org/art/1985.112

[mia-asian-art]

Battle between the Monkeys and Ravana, c. 1735, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

illustration from a Ramayana series; Chamba Size: 11 1/4 x 7 3/4 in. (28.58 x 19.69 cm) Medium: Ink on paper

https://collections.artsmia.org/art/2816/

[slam-asian]

Captain Kurita, Who Fought Furiously with His Famous…, Migita Toshihide, 1895, Saint Louis Art Museum: Asian Art

https://www.slam.org/collection/objects/52623/

[mia-asian-art]

Baby Carrier, Date Unknown, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

black lining; lower panel has large geometric embroidered squares--blue background, red, green, gold and white; bordered with vertical applied embroidered bands and tapes; upper panel center--horizontal embroidered bands and plain tapes with same vertical sides of woven bands and tape; patterned woven tape, top and side border Size: 32 1/4 x 44 in. (81.92 x 111.76 cm) Medium: Cotton, silk; needlework

https://collections.artsmia.org/art/97535/

[mia-asian-art]

Head Scarf, Date Unknown, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

green 1/2"-1" woven and embroidered bands with narrow red lines; many different patterns; separated by tan stripes; 3"-4" warp fringe at both ends; fringe is knotted at very end Size: 30 x 9 in. (76.2 x 22.86 cm) (length including fringe) Medium: Cotton

https://collections.artsmia.org/art/92316/

[mia-asian-art]

Jacket, Date Unknown, Minneapolis Institute of Art: Chinese, South and Southeast Asian Art

blue, red, white

https://collections.artsmia.org/art/104010/