Arts of Asia

25/09/2025

“Twilight of Idyllic Japan: The Calm Blue Dusk of Shin Hanga”, explores the Shin Hanga (New Prints) movement in Japanese art. It focuses on how these prints blend traditional Japanese woodblock technique with Western artistic influences, particularly in themes, perspective and colour. Tusha Buntin discusses how Shin Hanga artists such as Yoshida Hiroshi, Hasui Kawase and Takahashi Shotei integrated Western elements like perspective and naturalistic lighting into traditional woodblock printing, appealing to Western audiences as well.
Emphasizing idyllic landscapes, calming colours (especially shades of blue), and Japanese aesthetic concepts such as wabi, sabi, Shibui and yugen (subtlety, transience and profound beauty), these prints showcase an unique blend of cultural influences. Additionally, the piece highlights Dr Vincent Covello's collection, illustrating how his appreciation for both Japanese and Western art influenced his focus on Shin Hanga. The collection underscores emotional resonance, cultural exchange and the movement's evolution during Japan's Meiji period.
Discover Shin Hanga's cultural fusion between Japan and the West through Vincent Covello's collection in the Arts of Asia Autumn 2025 issue at artsofasia.com/back-Issues.
Pictured:
1) Hasui Kawase (1883–1957), Ushibori, 1930, 25.8 x 38.6 cm
2) Oda Kazuma (1882–1956), Catching Whitebait at Nakaumi, Izumo, 1924, 24.5 x 36.2 cm
3) Vincent van Gogh (1853–1890), Starry Night, oil on canvas, 1888, 73.7 x 92.1 cm. Image courtesy of Musée d'Orsay

22/09/2025

The Islamic Arts Museum Malaysia presents “More than a Day as a Tiger,” an exhibition running until January 11, 2026, that explores the remarkable legacy of Mysore’s father-son dynasty through Tipu Sultan’s defining philosophy: “Better to live one day as a tiger than 100 years as a sheep.”
From 1761 to 1799, Haider Ali and his son Tipu Sultan transformed Mysore into a formidable power that fiercely resisted British colonial expansion. Their court became a centre of artistic innovation, where Persian and South Indian styles merged to create a distinctive aesthetic that celebrated defiance over submission. The ubiquitous tiger motif—adorning ceremonial weapons, coins, and royal regalia—embodied their philosophy of fierce resistance and became the visual language of their sovereignty.
Beyond symbolism, these rulers revolutionised warfare through military modernisation, including advanced rocket technology and European tactical innovations, while implementing comprehensive administrative reforms. Their reign represented one of the last significant challenges to British hegemony in the Indian subcontinent.
The fall of Seringapatam in 1799 marked the end of their resistance, scattering Mysore’s treasures across the globe. Today, artifacts like Tipu’s throne stand as testament to a rich cultural legacy that chose the path of the tiger—embodying courage, innovation, and unwavering defiance in the face of overwhelming odds.
Discover exclusive insights on this remarkable exhibition in the Arts of Asia Autumn 2025 issue at artsofasia.com/back-Issues.
Pictured:
1) There is little left of Tipu Sultan‘s legendarily magnificent throne. This gem-set gold finial is one of the few survivors of the original eight
2) The inscription on the hilt of the ”Bedchamber Sword“ is a masterwork of inlaid calligraphy. The inscription on the blade was added later by the British to mark the importance of this weapon
3) Most images of Tipu Sultan replicate each other. This frontispiece is no exception, taken from a book by Alexander Beatson on the Anglo-Mysore War, published in 1800

18/09/2025

Otomaru Kodo’s Carved Lacquer Art
The revolutionary carved lacquer works of Otomaru Kodo (1898-1997) showcase extraordinary craftsmanship that transformed traditional Japanese chosh*tsu into modern art. A notable example, his “Cosmetic box with moonflower design” from 1942, features striking yellow moonlit flowers carved against glossy black leaves, with a remarkable deep lid that creates an uninterrupted design flow around the entire piece.
Emerging from the Sanuki lacquer tradition of Kagawa prefecture and spanning seven decades from 1920-1997, Kodo’s works are categorised into distinct periods: his traditional phase following classical jimon-bori patterns, a brief Art Deco-influenced period showing Western modernist aesthetics, and his revolutionary mature style featuring innovative colour applications and ground textures. Within his mature works, two signature techniques are identified - the jitsuki dimpled grounds created with special rounded gouges, and the hanmonji mottled grounds achieved through scraping and polishing, with examples from major collections illustrating his mastery of both approaches.
Tracing their origins to traditional red tsuishu and black tsuikoku carved lacquer vessels, Kodo’s innovations also connect to his collaboration with his youngest son Jun, who invented the pure lacquer tsuish*tsu technique requiring over 1000 individual coats. His works served as artistic expressions of natural beauty, embodying the essence of flowers and plants through his unique vision as a designated “Living National Treasure.”
For more insights on this master craftsman’s legacy, check out Arts of Asia’s Autumn 2025 Issue at artsofasia.com/back-issues.
Pictured:
1-2) Cosmetic box with moonflower design, chosh*tsu (1942), 30.3 x 27.3 x 22.5 cm. Takamatsu Art Museum (photography by Takahashi Akira)
3) Kodo in his nineties. Kagawa Prefectural Urushi Lacquer Art Institute, Takamatsu (photography by Kazuhiko Obori)

12/09/2025

The double-owl-shaped You ritual bronze vessels from the late Shang dynasty showcase exquisite craftsmanship. A notable example in the Minneapolis Institute of Art features two owls conjoined back-to-back, adorned with intricate scale motifs and dragon-decorated legs, contrasting with another vessel that displays distinct stylistic differences.
Emerging around 1600–1046 BC and linked to finds from Anyang, Henan, China, these vessels are categorized into two styles: one with dense, high-relief decoration and another with a minimalist aesthetic. Within the ornate category, two sub-types are identified based on the lid-body relationship, with examples from collections like Sen-Oku Hakuko Kan and Harvard Art Museums illustrating variations in design.
Tracing their origins to single-owl-shaped bronze containers, these vessels also connect stylistically to owl-shaped Zun from the Fu Hao tomb. They served as sacred media for communicating with ancestors and deities, embodying multiple spiritual forces.
For more insights on these artifacts, check out Arts of Asia’s Autumn 2025 Issue at artsofasia.com/back-issues.
Pictured:
1-2) Double-owl you Bronze. Late Shang dynasty, early 12th century BC. Height 17.5 cm, width 11.3 cm, depth 8.1 cm (Minneapolis Institute of Art, 50.46.118a,b).
3-4) Wine vessel Zun in the shape of an owl. Bronze Late Shang dynasty, early 12th century BC. Height 31.5 cm, width 17 cm (Minneapolis Institute of Art, 50.46.116).

04/09/2025

An article from our latest magazine exploring the life and work of Yuichi Inoue is now available online!
Yuichi Inoue (1916–1985) is celebrated as a revolutionary figure in calligraphy, renowned for his innovative techniques and bold use of materials. While he created numerous pieces featuring both single characters and multi-character works, his single-character pieces stand out for their striking simplicity and depth. These works were considered ahead of their time and were often included in exhibitions of contemporary art.
One notable example is ai (love), a representation of emotion and personal expression. This piece exemplifies Inoue’s ability to challenge traditional boundaries in calligraphy.
In this article, Kei Takahashi delves into Inoue’s journey, highlighting his masterpieces and the vital support he received from his wife and art critic Masaomi Unagami.
To learn more about this extraordinary artist and his impact on the world of calligraphy, visit artsofasia.com or click the link in our bio.
Pictured: Ai (愛, love), Yuichi Inoue, 1973, sumi ink on Japanese paper. © UNAC TOKYO

03/09/2025

The Editorial from Arts of Asia's Autumn 2025 issue is now available to read online!
Publisher and Editor Robin Markbreiter invites readers to delve into the life and work of avant-garde calligrapher Yuichi Inoue in our cover article. He also highlights the exhibition “Bamboo Baskets: Chinese Origins, Japanese Innovations” at The University of Hong Kong, showcasing the evolution of bamboo artistry. Tusha Buntin's article, “Twilight of Idyllic Japan: The Calm Blue Dusk of Shin Hanga”, features the Vincent Covello Collection of woodblock prints. Alongside these features, Robin discusses other notable exhibitions, including “Spirit of Simplicity: The AsianArt:Future/The Martin Kurer Collection” at the Museum of Cultures in Lugano and “The Legacy of Haider Ali and Tipu Sultan of Mysore” in Kuala Lumpur.
To read visit https://artsofasia.com/autumn-2025-editorial-2/

Pictured: Dr Simon Kwan, collector, Dr Florian Knothe, Director of the University Museum and Art Gallery, The University of Hong Kong, A. Naej, collector, and Ambassador Miura, Consul-General of Japan in Hong Kong, the guest of honour at the opening ceremony for “Bamboo Baskets: Chinese Origins, Japanese Innovations”

BY ROBIN MARKBREITER In May 2024, I travelled to Tokyo to meet Kei Takahashi, Director of Kami Ya Co., Ltd, which engages in various businesses related to art and cultural properties that use paper...

29/08/2025

We are excited to announce our Autumn 2025 issue!
The Autumn 2025 issue is a special Japanese edition that highlights, on the cover, the avant-garde calligrapher Yuichi Inoue (1916–1985), along with bamboo baskets at University Museum and Art Gallery, HKU, idyllic Shin Hanga prints, lacquer by Otomaru Kodo (1898–1997), and the centuries-old cultural exchanges between Holland and Japan.

Elsewhere in Asia we examine archaic Chinese bronzes from the Minneapolis Institute of Art at the China Institute in America, Cordillera sculptures and contemporary art from the AsianArt:Future Collection/The Martin Kurer Collection at Lugano’s Museum of Cultures and the legacy of Haider Ali and Tipu Sultan at the Islamic Arts Museum Malaysia.

We also interview Berthe Ford, president of The International Chinese S***f Bottle Society, and collector Paul Bromberg.

To access, visit https://shorturl.at/BIQU1
On our cover: Detail of installation view of the retrospective exhibition, “A Centennial Exhibition: INOUE Yuichi,” in 2016 at 21st Century Museum of Contemporary Art, Kanazawa

20/08/2025

Amber (fossilised tree resin) was widely used in China as it can be carved relatively easily and was available in plentiful supply. It was particularly popular during the Liao dynasty (907–1125), founded by nomadic Qidan (Khitan) people. Almost all elite Qidan tombs contain amber artefacts. These two amulets, from the tomb of Princess Chen in Inner Mongolia, depict a pair of phoenixes and a dragon respectively, both motifs borrowed from the Tang dynasty. However, the Liao phoenix is seated, which is not found in Tang art.

In our November–December 2007 issue, Xu Xiaodong details Liao amber and its multicultural characteristics through the amber artefacts excavated from the tomb of Princess Chen.

To access, visit https://shorturl.at/iUeEO
Pictured: Amber amulets held by Princess Chen (died 1018), one adorned with a crouching dragon, the other with two phoenixes, Research Institute of Cultural Relics and Archaeology of Inner Mongolia and the Provincial Museum of Liaoning

13/08/2025

This extraordinary Thai theatrical mask from the 19th century made of fragile papier mâché and glass is rare for its excellent original condition as it was never used. This and several other masks were part of King Chulalongkorn’s (Rama V) gift of over seventy “theatrical images” to the USA to be displayed at the Siam Exhibit of the 1876 Centennial Exposition in Philadelphia in celebration of 100 years of the country’s independence. Intended for use in khan theatre, this mask depicts King of Langka, ruler of a mythical island kingdom, and can be seen in the 1876 photograph of the exhibit.

In our May–June 2018 issue, Paul Michael Taylor details King Chulalongkorn’s royal gift at the 1876 Philadelphia Exposition now part of the Smithsonian collection.

To access, visit https://shorturl.at/XPqbi
1) Mask of Thotsakan, King of Longka, papier mâché, paint, mirrors and glass, Gift of King Chulalongkorn, 1876, Siam Pavilion, 1876 Centennial Exposition, Philadelphia
2) Interior view of the Siamese Pavilion, Philadelphia Centennial Exposition (1876) showing ten masks behind the central bust of King Mongkut

08/08/2025

This crystal stupa was made in 18th century Tibet and modelled after the 36-metres-tall Bodhinath stupa in Kathmandu. The stupa, covered with sacred symbols, is a three-dimensional mandala that embodies the Buddhist path to transcendence. The crystal dome likely represents Mt. Meru, the central feature of the cosmos. Here, it rests upon circles that each represents parts of the external cosmos. Above the dome is the finial in the form of the three flaming jewels which symbolises the three aspects of Buddhahood.

In our January–February 2004 issue, Robert Warren Clark details Tibetan treasures held at the Potala Palace Museum and the Tibet Museum in Lhasa, tracing both the ancient traditions of Buddhism and the unique culture of the region.

To access, visit https://shorturl.at/3YRAt
Pictured: Crystal Stupa, gilded copper, crystal and turquoise, Tibet, 18th century, Tibet Museum, Lhasa

01/08/2025

This pair of 14th century Japanese figures once guarded the gates of the now defunct building of Temple Iwayaji in Shimane prefecture. Carved in wood and over 2 meters tall, their dynamic poses follow the energetic sculptural style that emerged since the 13th century. Together, their open and shut mouths represent the first and last sounds of the Siddham script, used by Buddhists, and the pair symbolises all possible sounds and by extension, knowledge.

In our May–June 2013 issue, Menno Fitski and Anna Slaczka detail this and other works of the Rijksmuseum’s Asian art collection, which has its roots in both the Dutch East India Company and the Society of Friends of Asian Art, founded in 1918.

To access, visit https://shorturl.at/ZET1z
Pictured: Temple guardian figures, Japan, 14th century, wood with polychromy, heights 239.5 cm

30/07/2025

Iznik ware, made in the Turkish town of Iznik since the 15th century using fritware, took inspiration from Chinese ceramic imports and other sources. This large, flat dish was likely based on a silver prototype and portrays a huge sailing galleon surrounded by more than twenty smaller ships, which were a popular motif for Iznik ceramics. Meanwhile, the second dish, the only known Iznik example with a portrait, features a young anonymous Italian man against a background of hills, and was likely inspired by Italian maiolica.

In our November–December 2011 issue, Tim Stanely of the Victoria and Albert Museum details the museum’s impressive Iznik ware collection and the development of this ceramic type between the 15th–16th centuries.

To access, visit https://shorturl.at/f9SMO
1) Flat dish, fritware painted before glazing, probably lznik, Turkey, 1535–1545, diameter 32.6 cm
2) Wide-rimmed dish, fritware painted before glazing, probably lznik, Turkey, 1535–1540, diameter 26.2 cm