Orientations Magazine

Orientations Magazine An authoritative source on Asian art with stories of amazing places & incredible art collections.

Our articles are written by the world's foremost scholars in their field and every issue also includes market news and developments.

The signature red and black surfaces of a large, circular 18th century Japanese negoro tray on a high foot ring illustra...
10/09/2025

The signature red and black surfaces of a large, circular 18th century Japanese negoro tray on a high foot ring illustrates the tradition of lacquerware in East Asia. A nearby case features objects that demonstrate the variety of lacquer production in Japan, along with an early Chinese lacquer vessel from the second half of the 5th century BCE and a 17th-century Persian lacquered mirror and its box. Japanese prints on display present several recent acquisitions, such as a triptych titled Snowy Morning by Utagawa Kunisada (1786–1865) from around 1830 (image above). A lively depiction of an outdoor winter scene with figures of women, children, and young men gathered around a large well, the print is an example of an aizuri-e or ‘blue-printed picture’—a genre that became popular after the increased availability of the synthetic pigment Prussian blue to the Japanese print industry.

Read more in Zoe Song-Yi Kwok's article, 'Asian Art in the New Princeton University Art Museum' in the latest issue of the magazine. Click the link below to get your own print or digital copy!



https://orientations.squarespace.com/past-issues

Image:

Yuki no Ash*ta (Snowy morning)
Utagawa Kunisada (Japanese, 1786–1865), c. 1830
Ōban tate-e (woodblock print) triptych, ink and colour on paper; each 38.3 x 25.8 cm
Princeton University Art Museum
Museum purchase, Laura P. Hall Memorial Fund, selected for acquisition by students in ART 425:
The Japanese Print, 2022-1 a-c
Photograph courtesy of Sebastian Izzard LLC

Taking the form and size of a regular coffee pot and adorned with a scene of the Calcutta shore, the work seems to reduc...
08/09/2025

Taking the form and size of a regular coffee pot and adorned with a scene of the Calcutta shore, the work seems to reduce its ‘Chineseness’ to materiality alone. However, through processes of translation and mistranslation, Chinese artisans amalgamated the Calcutta waterfront with the distant Canton port in its pictorial design, turning the object from a tailored commission into an unexpected heterotopia that negotiates the uncertainties and internal dissonances surrounding ‘Britishness’ in the late 18th century. Combined with a Meissen-style form and gilding, the vessel helps its patron resist metropolitan criticism while navigating nascent British identities in Calcutta’s increasingly intercultural milieu.

To read Stella Wu's 'Cantonized Calcutta: Global Encounters in a Coffee Pot with a View of the Calcutta Waterfront' full article for free, click the link to our website below!

https://orientations.squarespace.com/highlights/cantonized-calcutta-global-encounters-in-a-coffee-pot-with-a-view-of-the-calcutta-waterfront

Images:

1. Coffee pot with a view of the Calcutta waterfront
China; Qing dynasty (1644–1911), 1790s
Gilt porcelain with underglaze blue decoration; height 24.1 cm, diameter 13.3 cm
Hong Kong Maritime Museum, Hong Kong
Photo © Hong Kong Maritime Museum

2. Punch bowl
China; Qing dynasty (1644–1911), c. 1785
Porcelain with grisaille decoration and gilding; 16.5 × 40 cm
National Maritime Museum, London
Photo © National Maritime Museum

3. Pl. ###VI, from Architectura Navalis Mercatoria
By Fredrik Henrik af Chapman (1721–1808); 1768
Engraving; 50 × 33 cm
New York Public Library, New York
Photo © New York Public Library

4. Survey of the Country on the Eastern Bank of the Hooghly, from Calcutta to the Fortifications at Budgebudge
By Mark Wood (1750–1829); 1785
Etching on paper; dimensions unknown
The British Library, London
Photo © The British Library

The Asia pavilion’s circuit is completed with displays of Korean art near the gallery’s entrance. A selection of ceramic...
05/09/2025

The Asia pavilion’s circuit is completed with displays of Korean art near the gallery’s entrance. A selection of ceramics from the Three Kingdoms (57 BCE–668 CE) to the contemporary period includes a finely potted, large stoneware jar from the Silla kingdom (57 BCE–935 CE), made during the 5th to 6th century CE, and a ewer in the shape of an oblong melon with a lustrous pale green glaze, a standout of Goryeo dynasty (918–1392) ceramic production (image 1). The longevity of the Korean ceramic radition is demonstrated by three life-size porcelain apples by the contemporary artist Young Sook Park (b. 1947). The startling naturalism of one of the apples, whose variegated colours are reproduced using a sophisticated copper glaze, reflects the artist’s absolute mastery over her medium.

Read more in Zoe Song-Yi Kwok's article "Asian Art in the New Princeton University Art Museum " in our current issue, click the link in our bio for more.

Image:

1. Melon ewer with lotus-flower design
Korean; Goryeo dynasty (918–1392), 12th century
Stoneware with relief and incised designs under celadon glaze; 20.5 x 18 cm
Princeton University Art Museum
Museum purchase, Fowler McCormick, Class of 1921, Fund, 2010-81
Photograph by Bruce White

2. Gong (pouring vessel) with dragon-head lid
China; Western Zhou dynasty (11th century–771 BCE), late 11th century BCE
Bronze with matching inscriptions cast in the lid and belly; 31.3 x 16 x 1.36 cm
Princeton University Art Museum
Museum purchase from the C. D. Carter Collection, gift of the Arthur M. Sackler Foundation, y1965-3
Photograph by Bruce White

3. Decorated eared cup
China; Warring States period (c. 470–221 BCE), 3rd century BCE
Grey ceramic with glass-paste glazes and red pigment; length 13.6 cm
Princeton University Art Museum
Museum purchase, Fowler McCormick, Class of 1921, Fund, Mary Trumbull Adams Art Fund, and Hugh Leander Adams, Mary Trumbull Adams and Hugh Trumbull Adams Princeton Art Fund, 2015-6732

Sep/Oct 2025 Issue Out Now! The latest issue of Orientations is available now, get your own print or digital copy on our...
03/09/2025

Sep/Oct 2025 Issue Out Now!

The latest issue of Orientations is available now, get your own print or digital copy on our website by clicking this link: https://orientations.squarespace.com/past-issues

Inside this issue enjoy articles about Song and Yuan Buddhist Painting, insight into the Princeton University Museum of Art collection, Yuan Dynasty Bronzes, and much more!

The composite or full-form rubbing (quanxing ta) emerged in response to the methodological imperatives of antiquarianism...
02/09/2025

The composite or full-form rubbing (quanxing ta) emerged in response to the methodological imperatives of antiquarianism in the late 18th to early 19th century of the Qing dynasty (1644–1911). The pursuit of precision—a byproduct of China’s engagement with Western science and indigenous intellectual movements—infiltrated the century’s antiquarian agenda and its historiography. Bai Qianshen (2010, p. 301) observes that emperor Qianlong’s colossal efforts in 1749 to catalogue bronze vessels from the imperial collection culminated in illustrations more precise than their Song dynasty (960–1279) precedents.

To read Angela Sha's 'Chronicles of Contact: Early Composite Rubbings from Zhang Tingji’s Writings on Collected Antiquities in the Pavilion of Tranquil Manner' full article for free, click the link to our website below!

https://orientations.squarespace.com/highlights/chronicles-of-contact-early-composite-rubbings-from-zhang-tingjis-writings-on-collected-antiquities-in-the-pavilion-of-tranquil-manner

Images:

1. Western Zhou Zhongfu fugui vessel with later wooden lid and stand
Western Zhou dynasty (c. 1046–771 BCE); c. 11th–10th century BCE
Bronze, wood, jade; dimensions unknown
Private collection
Photo © Sotheby’s

2. ‘Rubbing of a Western Zhou gui vessel’ in Writings on Collected Antiquities in the Pavilion of Tranquil Manner (Qingyige suocang guqiwu wen)
By Zhang Tingji (1768–1848); c. 1813
Ink rubbing on paper; dimensions unknown
Kyoto University, Kyoto
(After Tang, 2020, p. 7)

3. ‘Rubbing of a Han Washbasin’ reproduced in print by Bao Changxi in Fragments of Bronze and Stone (Jinshixie) (1876-7)
By Ma Qifeng (1800–62); c. 1858
Ink on paper; dimensions unknown
(After Lu, 2020, p. 4)

4. ‘Rubbing of a Shang dynasty jue vessel’ in Writings on Collected Antiquities in the Pavilion of Tranquil Manner (Qingyige suocang guqiwu wen)
By Zhang Tingji (1768–1848); c. 1813
Ink rubbing on paper; dimensions unknown
Kyoto University, Kyoto
(After Tang, 2020, p. 6)

Around the World: SeptemberYour monthly guide to must-see exhibitions and events worldwide across Asian and Middle Easte...
01/09/2025

Around the World: September

Your monthly guide to must-see exhibitions and events worldwide across Asian and Middle Eastern art!

1. "Japan de Luxe: The Art of the Surimono Prints", Museum Rietberg, Zurich, 26 September 2025 to 25 May 2026

2. "Bukhara Biennial", Bukhara, Uzbekistan, 5 September to 20 November 2025

3. "Dream Rooms: Environments by Women Artists 1950s - Now", M+, Hong Kong, 20 September 2025 to 18 January 2026

4. "Lee Bul: 1998 to Now" Leeum Samsung Museum of Art, Seoul, 4 September 2025 to 4 January 2026

Let us know if you visit any of these exhibitions, and tag us in your photos!

Happy 'Chinese Valentine's Day'! Did you know that today is the seventh day of the seventh lunar month, and is one of th...
29/08/2025

Happy 'Chinese Valentine's Day'!

Did you know that today is the seventh day of the seventh lunar month, and is one of the most significant dates in the Chinese traditional calendar?

It is known as Double Seven day. The annual meeting of the two mythological lovers, the Herd Boy and the Weaving Maid, otherwise separated by the Heavenly Han River (the Milky Way), occurs at this time. This tryst is one of the most celebrated events in the vast lexicon of Chinese mythology.

Head to our website read the full article, and share this post with someone you love 💛

Or follow this link: https://www.orientations.com.hk/highlights/the-meeting-of-the-herd-boy-and-the-weaving-maid-in-chinese-popular-prints

‘When someone dies, it is a sad event. People’s hearts are filled with grief, not to mention happiness. But the common p...
27/08/2025

‘When someone dies, it is a sad event. People’s hearts are filled with grief, not to mention happiness. But the common phrase “happy funerals” means that it is gratifying that the deceased lived a long and blessed life.’ This quote from Xu Ke’s Qing bai lei chao (Categorized Collection of Minor Qing Matters) illustrates that death is not always considered taboo; rather, it can be considered as a happy event, as indicated by the term xisang, which means ‘happy funerals’. This would usually be the case for people who could receive birthday hangings as gifts. The attitude towards life and death reflected in birthday hangings arises from the consideration of the positive possibilities of an afterlife. Thus, birthdays are not simply a celebration of longevity, but also an occasion to contemplate a good death.

Read more in Chi-Lynn Lin's article "Birthday Hangings: Liminal Shields Linking Longevity and Good Death" in our current issue, click here: https://www.orientations.com.hk/past-issues/p/julaug-2025

Images:

Birthday hanging (details)
China; Qianlong period (1736–96), 1739/40
Satin silk, gold thread; 396.24 × 365.76 cm
Minneapolis Institute of Art (42.8.318), Minneapolis
Photo © Minneapolis Institute of Art

1. Detail of 'Birthday hanging', showing a marriage to the daughter of a noble family

2. Detail of 'Birthday hanging', showing the passing of the civil service exam

Throughout the Qing dynasty, the Yunnan region had been militarily active. Late in the reign of the first Qing emperor S...
22/08/2025

Throughout the Qing dynasty, the Yunnan region had been militarily active. Late in the reign of the first Qing emperor Shunzhi (r. 1644–1661) military systems were reorganized in Yunnan province. General Wu Sangui (1612–1678), famous for leading the Manchu troops into Beijing to overthrow the Ming, was soon after transferred to Yunnan, where he took full control of the province. In the twelfth year (1674) of the Kangxi reign (1662–1722), Wu began a rebellion there. He was killed five years later. Fan Chengxun (1641–1714) the new General of Yunnan and Guizhou provinces at the time, then proposed in the aftermath of the rebellion to set up and negotiate trade agreements with the Dalai Lama and to send in troops throughout the region as needed. The southwest region of the Qing empire, including Sichuan and Yunnan provinces and neighbouring Tibet, continued to be unsettled. Finally, in the fourth year (1726) of the Yongzheng reign (1723–1735), the region had all come under Qing control.

Read more in Richard A. Pegg's article "Qing Dynasty Border Defence Maps of Yunnan and Guangxi Provinces " in our current issue: https://www.orientations.com.hk/past-issues/p/julaug-2025

Image:

Details of Guangxi-Vietnam Border Map, showing Liancheng and Zhennan area
Guangxi-Vietnam Border Map China; Qing dynasty,
Guangxu reign (1875–1908), 1885 (reprinted 1933)
Handscroll, printed ink and colour on paper; 689 x 52 cm
MacLean Collection

Birthday hangings, or shou zhang, a common birthday gift during the Ming (1368–1644) and Qing (1644–1911) dynasties, wer...
20/08/2025

Birthday hangings, or shou zhang, a common birthday gift during the Ming (1368–1644) and Qing (1644–1911) dynasties, were hung to decorate their recipients’ birthday banquet venues. Research on birthday hangings is sparse, both in English and Chinese, yet almost all major museums worldwide have examples in their collections. The term ‘shou zhang’ conveys the meanings ‘to shield’ and ‘to block’ (Yang, 2005). Indeed, the birthday hangings were intended to shield the walls on which they were hung, transforming the original space and providing a new, temporary surface for the birthday celebration venue. What kind of new space did the birthday hanging create, and how did its visual design and material character help render the architectural surface?

Read more in Chi-Lynn Lin's article "Birthday Hangings: Liminal Shields Linking Longevity and Good Death" in our current issue, click the link in our bio for more.

Images:

1. Birthday hanging
China; Qianlong period (1736–96), 1739/40
Satin silk, gold thread; 396.24 × 365.76 cm
Minneapolis Institute of Art (42.8.318), Minneapolis
Photo © Minneapolis Institute of Art

2. Detail of image 1 showing the larger figures resembling gate guardians at the left and right edges.

Bronze vessels for storing cowrie shells were either cast specifically or repurposed from important items such as bronze...
15/08/2025

Bronze vessels for storing cowrie shells were either cast specifically or repurposed from important items such as bronze drums. These storage vessels were key implements through which the aristocracy of the Shizhaishan culture expressed their wealth and status. Consequently, they are grand in size and exquisitely crafted, with vivid and intricate imagery adorning both their lids and midsections. The designs on the body of the vessel are rendered in incised (negative) lines, depicting both human figures and animals arranged in a patterned composition. The imagery on the lids, similarly, consists of threedimensional groups in bronze. These groups feature not only distinctive images of houses, temples, and ritual objects, but also a diverse array of human and animal figures.

Read more in Sun Hua and Liu Xu's article "Bronzeware of the Shizhaishan Culture" in our current issue, link in bio.

Images:

1. Shell-storage vessel with a sacrificial ritual scene
Excavated from Tomb 12 at Shizhaishan, Jinning China;
Western Han period (206 BCEBCE–8 CECE)
Bronze; height 51 cm
National Museum of China, Beijing

2. Standing ox pillow
Excavated from Tomb 17 at Li Jiashan, Jiangchuan China;
Warring States period (475–221 BCEBCE)
Bronze; 15.5 × 50.3 × 10.6 cm
Yunnan Provincial Museum, Kunming

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