Translation of Poem--upper left: A Night Mooring Near Maple Bridge While I watch the moon go down, a crow calls through the frost; Under shadows of maple-trees a fisherman moves with his torch; And I hear from beyond Suchou, from the Temple on Cold Mountain, Ringing for me, here in my boat, the midnight bell. -- Chang Chi (T'ang Dynasty 618-954) Seal: in upper right.
Chang Chi's poem lies in the upper right corner, just above a distant castle or other elegant building. In the foreground, mountains and trees arch over a wandering blue river and stretches of wispy clouds.
A landscape illustrating the Tang period poem of Chang Chi
This cylindircal jar has a circular lid with a small handle. The natural ash glaze creates a mix of green, black, gray, and reddish hues.
This is a water container. The artist, Koyama Kyoko, struggled as a female potter in a trade dominated by male artists. She received recognition when she discovered a way to revive the forgotten techinique of natural ash glazes, which are commonly used in her work.
Made of thick steel, this sculpture has two very distinct halves. One on side, the thick sheet of steel gracefully curves around and back on itself, making loops and rounded edges. On the reverse, the steel is angular, jagged, and sharp, jutting into the spaces in the sculpture's interior and the space around the whole. At the very center of the piece, along the implied dividing line between the two sides, is a relatively small box.
The subjects of Lucas Samara's steel sculpture are in part formal: the encounter between the two different halves, the curved and the jagged; the different relationships between the material and these distinct forms. The box at the center of the divided forms and in the title, "Stiff Box 12," suggests other thematic content: a kind of Pandora's box idea of chaos and strife springing from the opened container; a contest over possession of an object.
Square applique cloth with two narrative registers separated by two rows of squares, each bisected with solid and factory printed/plaid cloth; top and bottom border in similar checked motif. Red, black and white predominate. Top narrative panel has a stylized leopard and six human figures in festive dress, playing musical instruments. Lower panel shows 4 figures in festive dress, and an ox feeding from a bucket. All images and figures in applique.
Vivid, narrative appliqué cloths for funerary shrines were erected exclusively for members of the men’s ebie-owo initiation society. Shrines were erected six months to a year after a man’s death, and it was not until a shrine was made that his spirit could join the ancestors. These “second funerals” involved much pageantry in honor of the deceased, which is “documented” in the cloths' festive imagery.