`China: The Three Emperors, 1662-1795': An Exhibition from The Palace Museum, Beijing

by Jessica Rawson, Warden at Merton College, Oxford University, and lead curator of `China: The Three Emperors, 1662-1795' at the Royal Academy, London.

As noted by the author, while a concern with the historical achievements of the Manchu rulers has inevitably become increasingly important, and the arts of the Qing have been recognized for their superlative quality, little has yet been made of the ways in which these arts were at the service of major political and ideological endeavours. By attempting to show how the rulers employed the paintings, dress, porcelains, lacquers and furnishings in elaborate performances, the exhibition at the Royal Academy from 12 November to 17 April differs from the many previous ones from the Palace Museum in that it provides the audience with a glimpse of the roles and the stage set by the three Qing emperors in their claims to and exercise of power. `The dazzling and subtle qualities of paintings, of porcelains and of the finest textiles were deployed to transform the Manchu leaders from the north into the rulers of the Han Chinese, the Mongolians and the Tibetans.'

The Qianlong Emperor in Ceremonial Armour on Horseback By Giuseppe Castiglione (1688-1766), 1739 or 1758 Hanging scroll (originally a wall hanging), ink and colour on silk Height 322.5 cm, width 232 cm The Palace Museum, Beijing, Gu8761

by Alfreda Murck, an adjunct lecturer at Peking University and co-curator of `China: The Three Emperors, 1662-1795' at the Royal Academy of Arts, London.

Of the 400 works in the exhibition at the Royal Academy over 130 are paintings, many of them have never been shown outside China. As a curator for this section, the author was able to do extensive research on Wu Hong as revealed in her article for this issue. Painter and poet Wu Hong was a Ming loyalist who chose to support himself as an artist rather than serve the new Manchu government. Wu Hong's landscapes won an audience not so much for superb techniques as for their symbolism. Many of them addressed the fall of the Ming dynasty, including bold depictions of the inauspicious subjects of ruins, graveyards and hoary trees which encapsulated the experiences of his time. The author examines the direct and oblique references to the conquest contained in some of his lyrical landscapes and how Wu Hong might have been a source for Kong Shangren's play The Peach Blossom Fan about the collapse of the Ming dynasty.

Detail of Grieve-Not Lake By Wu Hong (c. 1615-after 1683) Handscroll, ink and colour on paper Height 30.8 cm, length 150.5 cm The Palace Museum, Beijing, Xin146380

by Regina Krahl, an independent scholar researching Chinese works of art and co-curator of the exhibition `China: The Three Emperors, 1662-1795' at the Royal Academy of Arts, London.

In her study of the Yongzheng emperor's patronage and how he revived an antiquated court art, the author argues that it is his passionate love of art and antiques that has shaped our idea of Qing - and thus Chinese - art but, unlike his son Qianlong, he was not concerned with his own glorification. Despite an eccentric personality and a reputation that is overwhelmingly negative, by all accounts Yongzheng was an able politician and a conscientious and successful ruler, under whom the country enjoyed great prosperity. Through his interests, antiques appeared in a new light and contemporary works became exemplary in quality and design. Yet the results are more immediately associated with Qianlong rather than Yongzheng, since the son knew how to link his own persona indelibly to this impressive heritage. The author examines Yongzheng's exceptional legacy.

Detail of Guwan tu (Pictures of Ancient Playthings) Scroll 8 from series xia (B or C) By court artists, Yongzheng period, 1729 Handscroll, ink and colour on paper Height 63.5 cm, length 22.5 metres Victoria and Albert Museum, London, E59-1911 (Photography by V&A Images)

by Meri Arichi and additional material by Hwang Yin.

In the world according to Norman Rosenthal, `ideas are very easy, realization is everything'. During his long tenure as Exhibitions Secretary of the Royal Academy of Arts, he has presided over a steady stream of shows that have defined and refined the blockbuster, the art world's equivalent of the Hollywood big-budget movie. The current exhibition `The Three Emperors' has taken at least three years in the planning. In the run-up to its opening, Rosenthal speaks disarmingly about his career, the complexities of organizing exhibitions, and the future of the academy.

Norman Rosenthal

The unpacking of objects loaned by the Chinese government for the 1935 exhibition at the Royal Academy of Arts was completed on 29 September, some two months after their arrival at Burlington House. From left: Zhuang Shangyan, Exhibition Secretary, holding a bronze ding; Zheng Tianxin, Special Commissioner of the Chinese Government; Sir Percival David, Exhibition Director; and resting his hands on the case lid, Tang Xifen, Exhibition Secretary.

As exhibitions of art have become less about hanging pictures and more about telling stories, presentation has become increasingly prominent. With this shift in the paradigm of the exhibition, the role of the designer has gone beyond the merely visual to encompass the conceptual. While we often marvel at what is before us in these exhibitions, how often do we think about how it all got there? Ivor Heal, the designer behind `China: The Three Emperors, 1662-1795', explains to Orientations how a blockbuster exhibition is created.

Ivor Heal

by Maxwell K. Hearn, Douglas Dillon Curator for Chinese Painting and Calligraphy at The Metropolitan Museum of Art, New York.

In April this year, Cecile and Sandy Mactaggart donated more than 700 East Asian works of art to the University of Alberta, Edmonton, Canada. Formed over forty years, the collection comprises 92 Chinese paintings which includes a small but choice group of works by the leading painters of the Wu School, the preeminent artists of the middle Ming dynasty and more than twenty paintings by major 20th century masters. However, the greatest strengths - both in quality and quantity - lie in the art of the Qing. To demonstrate these strengths, the author discusses a set of twelve hanging scrolls titled Peach Blossom Spring by Yangzhou painter Yuan Jiang, a work that exemplifies paintings for the mercantile elite. The collection also features an important monumental scroll - number seven from a set of twelve - documenting the Kangxi emperor's journey along the Grand Canal from Wuxi to Suzhou during his triumphal 1689 inspection tour in the south. Upon his return to Beijing, Wang Hui, the leading Orthodox master of the day, was recruited to document this epic journey. To emulate his grandfather, Qianlong commissioned court artist Xu Yang to do a pictorial record of his first southern tour. The Mactaggart gift includes the second scroll from this set.

Detail showing the Kangxi emperor waiting to disembark at Suzhou's Changmen The Kangxi Emperor's Southern Inspection Tour, Scroll Seven: Wuxi to Suzhou By Wang Hui (1632-1717) and assistants, 1691-98 Handscroll, ink and colour on silk Height 67.8 cm, length 2,195 cm

by John E. Vollmer, the author of Ruling from the Dragon Throne (Berkeley, 2002) as well as other books and articles about imperial Chinese costume and textiles.

The author gives an account of the lively discussions between himself, the Mactaggarts, Roderick Fraser, President of The University of Alberta, and Jacqueline Simcox about how the collection of 641 Chinese costumes and textiles was formed and the circumstances surrounding it being donated to the University of Alberta.

Sandy and Cecile Mactaggart at the announcement of their gift to the University of Alberta, Edmonton, Canada, 20 April 2005 (Photography courtesy of the Edmonton Journal)

Cham dancer's robe Tibet, probably 19th century (made of late 16th, 17th and 18th century Chinese textiles) Kesi and brocaded silk satins Length 139.7 cm

by Sylvan Barnet and William Burto, retired professors of English literature, have collected Japanese art since 1963.

In their examination of the emblems of the Buddha's body on the shakujo (a metal frame with free-hanging rings that jingle) of a staff, one of the few possessions a Buddhist monk is allowed to have, the authors conclude that a staff symbolizes an instrument of power, it speaks of the power of enlightenment to him and to all who see or hear it.

Shakujo Heian period (794-1185) Bronze Height 21.6 cm Barnet and Burto collection

Jessica Rawson and Freda Murck at a dinner in Beijing celebrating completion of the packing of objects from the Palace Museum destined for the exhibition `China: The Three Emperors, 1662-1795', which opens at the Royal Academy in London on 12 November.

In her comprehensive review Helen Ibbitson Jessup notes that the kingdoms of East Java, dominant in Indonesia from the 10th to the 15th century, have received little attention from scholars and visitors and discusses how Ann Kinney and her collaborators have contributed to a greater understanding of architecture and related sculpture of this period and have set the remarkable achievements into the context of Indonesian history in general.

In her report on the James H. W. Thompson Foundation's symposium `Status, Myth and the Supernatural: Unraveling the Secrets of Southeast Asian Textiles' held in Bangkok from 4 to 7 August, Diana Collins discusses briefly the content of some of the presentations made by fifteen highly respected and active researchers. Robin Maxwell looked at imagery on Islamic textiles; Suriya Smutkupt examined the custom of wrapping Buddhist palm-leaf manuscripts in women's tube skirts; Diana K.Myers discussed the parallels between Tai and Bhutanese textiles; Patricia Cheesman explained why male as well as female shamans in the Lao-Tai cultures wear women's skirts; and Linda McIntosh's topic was the social roles of textiles in Phu-Tai culture.

Durga Mahishasuramardini East Java, Candi Jawi, early 14th century Volcanic stone Height 94 cm Museum Mpu Tantular, Surabaya, East Java (inv. no. 1955) (Photography by Dirk Bakker)

Two fairs are being organized to coincide with Christie's Spring auctions in Hong Kong and soon after the sales at China Guardian, Huachen, Hanhai, Rongbao and Sungari in Beijing. The two organizers are banking on the historic importance of Hong Kong as a centre for Asian art, its accessibility to international collectors and its ideal infrastructure. The city's position on the doorstep of China is now particularly pertinent with the recent explosion of the China art scene and the emergence of affluent mainland buyers. Moreover, Hong Kong is also within easy reach of the growing number of buyers from Japan, Taiwan and Southeast Asia. And unlike the US and Europe, there is no sales or value-added tax and there are no import or export restrictions on antiques and works of art.
`Asia International Arts & Antiques Fair 2006' takes place from 26 to 29 May at the Asia World-Expo. Approximately half an hour from the central district, Asia World-Expo is just minutes away from the Hong Kong International Airport, giving easy access to participants and visitors who will be arriving from all over the globe. This fair is open to dealers in Asian and Western ancient and contemporary art; a number of auction houses have already expressed interest in participating, for example, the organizers have announced that I.M. Chait Gallery from Los Angeles will conduct an auction. The vetting committee includes William Chak and Michael Wang. There are 250 booths available for rent and the fee for a nine-square metre space is HK$39,800. Those signing up before 28 January 2006, will get a 20 per cent discount.
The organizers are also planning a series of seminars and there will be a special exhibition featuring objects from the Poly Museum in Beijing, including the four famous bronze animal heads from the Yuanmingyuan, and the Shaanxi History Museum.
The `International Asian Art & Antique Fair' is being organized by Art and Antique International Fair Ltd from 27 to 31 May at the Hong Kong Exhibition Centre, a few minutes' walk from Christie's auctions. Apart from its convenience for dealers and collectors with tight schedules, the Exhibition Centre is also favourable in terms of size and will easily accommodate the 49 anticipated stands.
The fair will be limited to Asian art; partly because of the difficulty in finding local experts to vet Western art. Every item will be examined by a vetting committee consisting of exhibitors and collectors from Hong Kong and overseas, and scholars from local institutions. Dealers of classical, modern and contemporary art have been invited from the US, UK, Europe, Taiwan and Hong Kong; participants will include specialists in modern and contemporary art from mainland China who are trying to reach a global market. Several dealers and auction houses have already signed up. Basic facilities are included in the rent and the stands are constructed with customized design and materials. A stand of nine square metres will cost HK$61,200.
A budget of HK$500/600,000 has been allocated for promotion and advertisement of the fair. The IAAAF will open with a preview on the evening of 26 May to benefit the Fine Arts Department and The Art Museum of the Chinese University of Hong Kong. The proceeds will go towards an education programme for museum studies and art management.
For more information on these fairs, please refer to the organizers' respective websites (www.aiaa.com.hk and www.aaifair.com).

In November, Gisèle Croës will open her new gallery in a 1920s Adrien Blomme building in the residential area of Ixelles in Brussels where there are many other conserved historic buildings, such as the 16th/17th century Abbey de la Cambre across the street. Croës, who specializes in early Chinese art, spoke to Orientations about her new project and how current trends are affecting her work.

Gisèle Croës in the quarters of the Qianlong emperor at the Forbidden City, Beijing

Margaret Tao highlights a few of the top lots and buying trends at Christie's and Sotheby's. Christie's `Fine Chinese Ceramics and Works of Art' sale on 20 September brought in US$14,488,060, the highest total for a various-owners sale of Chinese art in New York. Jade, rhinoceros horn, cloisonné and imperial porcelain were popular with mainland and overseas Chinese dealers, who dominated the bidding. It was a solid sale where every section did well, but some prices for middle-market Qing ceramics were lower than they have been at recent sales, possibly due to the absence of most Hong Kong and Taiwan dealers. The two top lots both fetched US$1,696,000. Fishing in Green Depths, a hanging scroll by Wang Meng went to Arnold Chang acting on behalf of an American collector, set an auction record for the artist. The painting had been withdrawn from the Hong Kong sales in May at the request of its owner, Stephen Junkunc IV. There had talk of it fetching as much as US$3 million but, according to Chang, Chinese collectors became suspicious when it was withdrawn; eventually there were only two others, both on the telephone, bidding against him. However, in today's market, the price is justified by its rarity and presumed authenticity. The second lot, a Zhengde mark-and-period blue-and-white square-bodied vase with Persian inscriptions and in perfect condition, went to Giuseppe Eskenazi, reportedly bought it for a European collector. There is supporting documentation of its purchase in 1902 by Clarence Cary from E.O. Arbuthnot in Shanghai, and it comes from the estate of his descendant Guy Fairfax Cary. Eskenazi faced competition from Richard Littleton and Julian Thompson - an indication that interest in the piece came mostly from European or American collectors.

Vase China, Zhengde mark and period (1506-21) Porcelain with underglaze cobalt-blue decoration Height 26 cm Christie's `Fine Chinese Ceramics and Works of Art' sale, New York, 20 September 2005, lot 261 Price: US$1,696,000 (estimate US$100/150,000)

The total at Sotheby's `Fine Chinese Ceramics & Works of Art' auction on 21 and 22 September was US$12,772,620. The contents of the sale seem to have been selected for their potential appeal to Chinese clients; but fewer than expected came, and those in the room were not bidding a lot. Much of the action came from collectors on the telephone. Specialists-in-charge Joe-Hynn Yang and Mee Seen Loong noted that this was the third season in which Sotheby's achieved the highest price for a Chinese work of art - Eskenazi, underbid by John Berwald, bought the Yongle period blue-and-white meiping from the estate of Laurance S. Rockefeller for US$3,936,000. The vase had a hole drilled into the unglazed bottom but as the quality of the porcelain, the painting and the colour is so fine, Eskenazi is of the view that the hole does not matter.
The other highlight was a pair of massive Wanli mark-and-period lacquer cabinets with removable upper compartments lavishly decorated in gilt. A Chinese collector on the telephone bought them for US$1,136,000. As lacquer furniture is extremely scarce in China, it is unfamiliar to and, thus, little sought after by Chinese buyers.
Despite mixed results of `The Arts of the Buddha' sale on 22 September, Joe-Hynn Yang plans to continue these sales. Several unprovenanced stone sculptures with high estimates remained unsold. The surprise of the day proved to be a gilt-copper Buddha with a cabochon-set openwork mandorla which brought an astonishing US$732,800. It was bought by an American collector on the telephone, underbid by Korean art dealer Joseph Carroll. Although the image is catalogued as Tang dynasty and dated to the 7th/8th century, Carroll along with Eskenazi and New York dealer Sebastian Izzard, believe that it is Korean.
At Sotheby's `Indian & Southeast Asian Art including Modern Indian Paintings from the Wilberding Collection' on 20 September the sale total was US$8,192,120. All of the top ten were modern paintings; auction records were set for twelve artists. An oil by Ram Kumar fetched US$396,800, making it the sale's top lot. Bodies Drift Between You and Me by Maqbool Fida Husain set an auction record for an already popular artist when an Indian collector acquired it for US$284,800. According to Sotheby's specialist Anu Ghosh-Mazumdar, dealers from India came `with both guns blazing', as did ethnic Indian collectors from around the world. There was frenzied bidding and the telephones were kept busy. Paintings from private collections that were new to the market produced unexpectedly strong results.
The total for the Christie's `Indian and Southeast Asian Art including Modern and Contemporary Indian Art' sale on 21 September was US$11,328,020. Thirteen records were set. The existing record for Husain - set only the previous day at Sotheby's - was broken when Trial, an oil on canvas from an Irish collection, was bought by an Indian collector for US$486,400. Although works by Tyeb Mehta are in great demand, there are few pieces as he was meticulous and not very prolific. Specialist-in-charge Yamini Mehta was entirely unprepared for the intense competition between as many as eight bidders on his celebrated work Mahi-sasura. It eventually came down to a collector from India in the room and an Indian US-resident on the telephone, who bought it for US$1,584,000. The price sets a new threshold for the market in Indian contemporary art.

Mahisasura By Tyeb Mehta (b. 1925), 1997 Acrylic on canvas Height 150 cm, width 120 cm Christie's `Indian and Southeast Asian Art' sale, New York, 21 September 2005, lot 275 Price: US$1,584,000 (estimate US$600/800,000)

The `Japanese and Korean Art' sale at Christie's on 22 September ended the week on a positive note. A total of US$4,056,360 was achieved. The star of the Japanese section was a rare first edition of the Utamakura erotic prints by Kitagawa Utamaro; complete and in perfect condition, it was the best of its type. There was stiff competition between Japanese, European and American bidders. A European collector eventually acquired it for US$441,600. Eight Views of the Xiao and Xiang Rivers, a rare 18th century folding album by the Korean artist Chong Son, was bought by an Asian buyer for US$598,400. Heakyum Kim, the specialist-in-charge, noted that the Korean art market no longer depends on Korean buyers; if the pieces are good, there are buyers from elsewhere.

by Kate Fitz Gibbon, a specialist in Central Asan Art and cultural heritage issues. Her most recent book, Who Owns the Past? Cultural Policy, Cultural Property, and the Law, was published by Rutgers University Press in September 2005.

In September, the Washington, DC arts community gathered to celebrate Guido Goldman's gift of his collection of Central Asian ikat textiles to twelve US and European museums. Goldman's donation is a notable example of private philanthropy and conscientious stewardship by an American collector. In Fitz Gibbon's view the US public has gained a better understanding of a country and people far from its borders, and there is increased dialogue over material culture between Western and Central Asian scholars. And perhaps the most astonishing development: the spectacular commercial revival of the arts of ikat and embroidery in Central Asia in the last decade where Goldman ikats have often served as models.
According Fitz Gibbon, Goldman has often expressed his belief that art is a good ambassador and in a time of increasing strife over issues of cultural property and rampant nationalism, Uzbekistan's support for this gift stands as a landmark in cultural collaboration, in stark contrast to claims for restitution of art made by some source countries.
Fitz Gibbon concludes that it is imperative that the arts community joins forces with political interests to recognize the museum's essential role in preservation, documentation and global cultural education. The focus should be, as Guido Goldman has through this magnificent gift, on long-term social goals rather than personal or political interest, and to strive together to build international understanding through the arts.

Wall hanging Uzbekistan, Bukhara, c. 1800-50 Warp-faced plain weave with an ikat-dyed silk warp and undyed cotton weft Height 213.4 cm, width 114.3 cm Guido Goldman Collection