The collection of Asian art at the Metropolitan Museum—more than 35,000 objects, ranging in date from the third millennium B.C. to the twenty-first century—is one of the largest and is the most comprehensive in the West. Each of the many civilizations of Asia is represented by outstanding works, providing an unrivaled experience of the artistic traditions of nearly half the world.
Posted: Friday, May 29, 2015
Posted: Thursday, May 7, 2015
Best known for his compelling portraits of world leaders, Platon spent several months photographing couture garments from designers such as Christian Dior, Jean Paul Gaultier, Karl Lagerfeld, Alexander McQueen, and Yves Saint Laurent, as well as traditional Chinese costume and decorative art objects. I spoke with him about the book, his work, and the importance of artists as cultural mediators.
Posted: Tuesday, April 14, 2015
In 1915, the president of The Metropolitan Museum of Art, Robert de Forest, turned his attention to Asia and acquired a large group of Nepalese and Tibetan gem-studded objects. Among them was this dazzling ornament for the forehead of a sculpture. It presents the four directional Buddhas in diamonds, rubies, sapphires, emeralds, as well as auspicious materials such as red coral and turquoise. At the center, the cosmic axis of the universe, is a vajra featuring a large diamond surrounded by lapis lazuli—a clear reference to Vajrayana Buddhism as the diamond path.
Posted: Friday, March 13, 2015
Tsakali cards were used by a practitioner, usually a monk or nun, under the guidance of a teacher to evoke a Buddhist deity. As these teachers traveled from one monastery to the next, using sets of portable tsakali cards was an efficient way of presenting the vast pantheon of Buddhist gods.
Posted: Friday, February 20, 2015
In preparing a history of the Museum's Department of Asian Art, which this year celebrates its centennial by showcasing its unparalleled collection through a range of exhibitions, gallery talks, and other offerings, I have uncovered a number of little-known facts and many "secrets" that are not widely known to the public. Here are nine of the most fascinating.
Posted: Friday, February 6, 2015
Looking closely at historical artifacts is one of the chief privileges and joys of being an art conservator, and I am thrilled to share with you a close look at one of the extraordinary objects currently on view in the exhibition Sacred Traditions of the Himalayas. While this ritual blade is immediately striking in its sinuous form and elaborate decoration, closer examination reveals an inspiring display of technical skill and master artistry.
Posted: Friday, January 30, 2015
I've always been drawn to the role that art and artifacts play in shaping our collective history and culture. As a college intern in the Department of Objects Conservation here at the Met, I recently had the unique opportunity to spend some one-on-one time with beautiful jewelry from Nepal while assisting with the preparation for the exhibition Sacred Traditions of the Himalayas.
Posted: Friday, January 23, 2015
This beautiful image of the bodhisattva Avalokitesvara holds a lotus as his principal attribute (fig. 1). On view in the exhibition Sacred Traditions of the Himalayas, the gilded figure and its lotus-inspired pedestal are made of a single block of sandalwood, a wood species that holds spiritual meaning throughout Asia. The exceptional carving found here is a rare surviving example of a Nepalese tradition with a long history, one which ultimately can be traced back to India.
Posted: Friday, January 16, 2015
A gift to the Museum in 1949, this image of Vajrabhairava was not placed on display for many years (fig. 1). In conjunction with the work's display in the Sacred Traditions of the Himalayas exhibition, however, the Departments of Objects Conservation and Scientific Research examined this figure in order to shed light on the materials and the production technique of this unusual representation.
Posted: Friday, January 9, 2015
In the course of conserving a group of twenty-five Tibetan initiation cards currently on view in Sacred Traditions of the Himalayas, the second phase of treatment—performed after media consolidation—concerned compensating losses. All of the cards were damaged along their top edges from a combination of mold deterioration of the multilayered support and the handling received during their past lives as functional objects. While some of the cards were only missing parts of the top red margins, others had losses that extended well into the image area.