Volume 40 – Number 7
The Nezu Museum and the National Palace Museum are vastly different institutions in scale, orientation and history. Nevertheless, they share a common root as collections founded on the principles of traditional connoisseurship. In recent years, both have responded energetically to the often opposing challenges of adapting to changing times and preserving their holdings for posterity. The Nezu reopens after a three-and-a-half year closure to build a new state-of-the-art museum. Nishida Hiroko, Shirahara Yukiko and Matsubara Shigeru introduce significant works of decorative art, religious painting and Japanese painting and calligraphy that can be seen in the new galleries and eight special commemorative exhibitions.
The opening of the exhibition 'Harmony and Integrity: The Yongzheng Emperor and His Times' marks the spirit of detente between Beijing and Taipei. Fung Ming-chu describes how an exchange of visits between the two Palace Museums for the first time in 60 years resulted in a loan of objects from Beijing. Yu Peichin discusses the Yongzheng emperor's interest in Jun ware and Mark O'Neill tells the tale of how there came to be two Palace Museums.
Antje Papist-Matsuo introduces an exhibition of Negoro lacquer at the Okura Shukokan Museum, and Michael Henss the Tibet Museum of the Alain Bordier Foundation. Alonzo Emery describes his experiences at the Venice Biennale and Art Basel.
There are previews of the HKIAAF and Asian Art in London. In the commentary, James Stent and He Shuzhong make an impassioned plea for saving Kashgar's Old City from state demolition.