Our Asian Art Museum: The Crow At Twenty

OUR ASIAN A RT MUSEUM THE CROW AT

TWENTY

LETTER FROM THE DIRECTOR Two decades ago our city’s future changed for the best: with the opening of the Crow Collection of Asian Art on December 5, 1998, Dallas became more international, more diverse and more culturally intelligent. For the first time, this free museum offered access to the cultures of Asia, opening up classrooms by way of curricula and technology, and forging new understanding and connection through art and the experience of that art.

What really made the museum is the community that forged this place with us: friends, leaders, first families of Dallas, Asian-Americans and lifetime Texans, committed to artistic excellence and cultural literacy—it is the people that make a collection a museum. This exhibition celebrates the space we hold for the City of Dallas as the Asian Art Museum. This moment in time celebrates a name more relevant to who we are and what we create in the community. This museum celebrates the tremendous contributions of the Asian-American leaders to our city, economically, politically, in arts and culture and in our daily lives.

Our Asian Art Museum: The Crow at Twenty heralds a future that promises vision, leadership and diverse artistic engagement. Grounded in our foundation, the collecting spirit of Trammell and Margaret Crow and their love of Asia, this exhibition steps out beyond the family representing a new spirit of independence as a museum truly cared for inside of the Public Trust. This is my museum and yours, too, and ours to protect and carry into a future. Listen to the voices of these bright leaders: they represent the guiding lights to this museum and to our city lighting the path to art, culture and compassion.

Amy Lewis Hofland Executive Director Crow Museum of Asian Art

The exhibition is on view from September 28, 2018 through August 11, 2019.

INTRODUCTION Over the past twenty years, the Crow Museum of Asian Art has grown and flourished as the Asian art museum of Dallas. Founded by Margaret and Trammell Crow, we opened our doors on December 5, 1998, as a gift to the people and visitors of our city.

Beginning with a selection of just over six hundred works, the Crow’s unique permanent collections have expanded to include more than one thousand artworks. We currently showcase the artistic achievements of more than six thousand years of arts and cultures from across Asia, including Cambodia, China, India, Indonesia, Japan, Korea, Myanmar, Nepal, Thailand, Tibet, and Vietnam. The museum’s exhibitions and public programs have been recognized regionally, nationally, and internationally.

This exhibition is part of a celebration marking the twentieth anniversary of the founding of the Crow Museum of Asian Art. The growth of our collections has been made possible by generous gifts from our members and the greater community, which we serve. To honor those contributions, and to commemorate our founding and decades of operation, in this exhibition we have displayed twenty masterworks from across our Museum’s permanent collections. Each masterwork has been selected by and paired with a friend and member of our community. Once paired, each honoree was asked the following questions regarding their art selection and their relationship with our museum: ➤ Share why you chose this object and its significance to you. ➤ Tell us your favorite memory at the Crow Museum ➤ Our museum’s vision statement is to love and celebrate the arts and cultures of Asia.

What does that mean to you?

Through these pages, we share with you their answers and invite you to learn more about each of these objects in our collection. We celebrate this extraordinary journey with you, our dedicated supporters and our visitors, and thank you for your generosity and your love of the arts and cultures of Asia.

Sincerely, Jacqueline Chao, Ph.D. Senior Curator Crow Museum of Asian Art

Share your experience with us by tagging #crowat20 on social media.

Dharmapala Palden Lhamo on a mule Tibet ca. 18th century Bronze, gilt, and pigment H. 6 ¼ x 4 ¾ x 2 ½ inches Crow Museum of Asian Art, 1982.38 In Tibetan Buddhism, there are Eight Enlightened Dharmapalas who serve as protectors (Skt. pala) of the Buddhist Law (Skt. Dharma). Palden Lhamo, the only female in the group, often appears as shown here, riding sidesaddle on a mule, traveling in a sea of blood. This fearsome protector stands to defend against delusion, passion, and ignorance that obstruct the path to enlightenment.

Palden Lhamo is an incarnation of Sri Devi, the Hindu Great Goddess of pre-Buddhist legend. It is said that when she was incarnated as the Queen of Sri Lanka, she objected strenuously to her husband’s practice of human sacrifice. She threatened to kill their son if her husband did not cease. When he did not stop this practice, she killed their son and spread his flayed skin over her mule as a saddle blanket. His head hangs between the mule’s legs. While fleeing her husband’s kingdom, he fired an arrow that pierced the mule’s haunch. The wound was transformed into an eye by the Goddess to aid her in her mission to watch over devotees.

DR. CARON SMITH Curator Emeritus Crow Museum of Asian Art My affinity with the sculpture of the Tibetan guardian goddess Palden Lhamo is a reflection of my earliest encounters with the Crow and Amy Hofland. In 2006, we identified a suite of exhibitions of Himalayan art that could come over a period of years to the Crow from the Rubin Museum of Art in New York City, where I was Deputy Director and Chief Curator. Not all the exhibitions came, but eventually I did, taking on curatorial responsibilities at the Crow. I maintained my residence in New York City, but my pursuit of Asian Art focused on the Crow collection. Palden Lhamo has sustained my connection to Tantric Buddhist art. She is fierce, as a guardian spirit must sometimes be to protect in the face of forces of opposition.

Her living power was brought home to us when we once selected her for a small display at the Bush Library on the occasion of a visit from none other than the Dalai Lama.

With President and Mrs. Bush and Amy Hofland and Danny Skinner looking on, His Holiness smiled broadly when he saw the sculpture and said “My Protector.”

The vision of the Crow Museum is to participate in bringing life to art and art to life. It’s not only about objects and viewers; it’s about letting human civilization flow through us and be channeled by us, allowing art and culture to shape our lives to bring us understanding of ourselves and one another.”

Dr. Caron Smith is Curator Emeritus of the Crow Museum of Art, with over 40 years of museum experience. She has previously served in senior curatorial and administrative roles at The Metropolitan Museum of Art, Asia Society New York, San Diego Museum of Art, and the Rubin Museum of Art, as well as authored many volumes on Asian art.

Plaque with Seated Crowned Buddha

Nepal Shah period, 19th century Wood plaque, bronze, gilt, gilt wire, and jewels—pearls, garnets, turquoise, and gemstones 24 ½ x 20 ½ x 3 inches Crow Museum of Asian Art, 1982.2 Nepalese art bears the strong imprint of the Newari people, a minority community concentrated in the Kathmandu Valley. The Newars, followers of both Hinduism and Buddhism, were highly skilled and creative metalsmiths, woodcarvers, sculptors, and painters. Their devotional objects were in demand in Tibet and China as well as Nepal.

The style, known for youthful, sensuous bodies, sharp facial features, and elegant ornaments and jewelry, influenced religious arts throughout the entire Himalayan region.

This devotional plaque features a crowned Buddha seated in the posture of meditation in a densely foliated jungle setting. It displays intricate craftsmanship and unabashed love of ornament. Using detail shared with Newari jewelry—variously colored stones picking out floral motifs—the plaque is intended to be hung. Decorative plaques such as this one and several others in the museum’s collection were used as architectural embellishments in Nepalese temples. They might designate a miniature shrine within a temple or serve as a personal votive object.

MICHAEL J. SORRELL President Paul Quinn College The piece that I chose from the museum was a temple plaque from Nepal. It’s very intricate and very beautiful. And what it said to me really was just this idea of just the complexity of beauty in other parts of the world. When you look at [this] piece it clearly took hours upon hours of work that people did with just their bare hands. And each part of it is just exquisite…I love the turquoise colors. I love the pageantry of it. But for me more than anything else, I found a piece that even though it’s very clearly Asian, it didn’t feel like what you typically associate with Asian art. And that’s really the beauty of the Crow Museum to me as well, is that it helps you appreciate the vastness of what is actually Asian art.

My favorite memories of the museum are just walking in and feeling as if you’ve walked into another space and time. Great museums, great architecture, accomplish that for you. I love it. I think it’s a real joy to have the museum located where it is because it just represents a break from the hustle and bustle of downtown into a scene of serenity.

The vision and mission of the museum is really special because I’ve never been to Asia.

Really, the closest I’ve come to that part of the world is Kazakhstan. And for me, what the Crow Museum does is it opens a different part of my being. I don’t think that would happen if not for [the] museum and I can’t tell you that I would be familiar with a temple plaque from Nepal. I wouldn’t know those things if it weren’t for Trammell, if it weren’t for his family’s commitment to making sure people like myself, my children and others in this community have those experiences. I know that some folks question the value of the arts.I would tell you the real value of art is the spirit that it unlocks, the creativity that it unlocks. The ability to allow your mind to engage in things that you normally wouldn’t see. You do it because we want people to have those moments. We want them to be aware of other places than themselves, because you just don’t know what that spark would do for someone else. On behalf of the city, I think we owe the Crow family a tremendous debt of gratitude. And I’m just really, really appreciative that they are my friends and that my children also get the benefit from this legacy.

Michael J. Sorrell is the 34th President of Paul Quinn College. Under his leadership, Paul Quinn has gone from an institution on the verge of collapse to one that is now nationally renowned for its innovative approach to higher education. Michael received his J.D. and M.A. in Public Policy from Duke University and his Ed.D. from the University of Pennsylvania. While President Sorrell has won many awards throughout his career, the honor that has meant the most to him was being selected as the “Father of the Year” for the City of Dallas in 2016 for his relationship with his wife Natalie and their two wonderful children, Michael Augustus and Sage Louise-Sinclair.

Bowl

Thailand Ayutthaya Kingdom (1350-1758), ca. 1500 Sawankaloke or Si Satchanalai stoneware with “celadon” glaze H. 4 x Diam. 11 inches Crow Museum of Asian Art, 1996.13 Between the fourteenth and sixteenth centuries, ceramics were produced in great quantities from kilns in north central Thailand. Located upriver on the Chao Phraya from Bangkok, the region had fine clay and the kiln technology to produce highly desirable “celadon” wares. The high-fired stoneware was covered with a natural feldspathic wood-ash glaze that contained iron, resulting in a distinct range of colors, from cloud-grey to blue-green to deep olive. Like the Chinese celadons on which they were modeled, wares from these kilns were fired in a reduction atmosphere to a temperature of about 1250 degrees centigrade. Thai art’s focus on magic in the everyday is evident: this sturdy ceramic from the museum’s collection is marked with a stylus in quick lines that suggest both rain and trees—stands of trees on the mountain sides, rain falling from the sky. The highly desirable craquelure hints at wind on water.

TARA LEWIS Community Volunteer and Art Enthusiast I have several favorite memories inspired by my long friendship with Amy. I walked into the museum shortly after I moved to Dallas, excited that the city actually had an Asian art museum, and took a lunch time tour that Amy (then the Director of Education) was conducting. We became fast friends and I was soon volunteering as a docent and enjoying many happy hours learning about the Crow family and their impressive collection. When our oldest child, Artesa, was born, our first official outing at 10 days old was to an opening at the museum. To this day, she and her younger brother love to visit this place that to them feels very much like home. My other favorite memory is of the incredible celebration that was held when the Asian sculpture garden that surrounded Trammell Crow Center opened in 2014. I had watched as Amy and the staff worked tirelessly to create something bold, unique and timeless. The evening of the sculpture garden’s debut was beautiful and filled with friends and admirers, all there to celebrate the larger than life legacy that Margaret and Trammell Crow have left to the city of Dallas.

I moved to Dallas not many years after the Crow Museum opened and I feel as I have become a part of the city, so has the museum. It continues to flourish and expand its offerings to boldly achieve its mission of creating a love for and a celebration of Asian cultures in the city of Dallas. The museum embraces not only a significant core collection of art from all over Asia, but also offers programming that makes the cultures of those countries come to life, and as a result, adds layers of additional meaning to the works of art.

Tara Lewis is currently a consultant to and Director of HEYCO Energy Group, Inc., previously serving as Vice President from 1998 to 2015. She also is also a Special Advisor to the Board of Matador Resources. Her past roles include Director of Internal Audit for Apache Corporation and Senior Tax Advisor at PwC. She is on the Board of the Independent Petroleum Association and acts as Chairman of its International Committee. Tara serves on various civic boards, including The Arts Community Alliance (TACA), the Dallas Children’s Theater, and Booker T. Washington High School for the Visual and Performing Arts, and is an alumnus of the Texas Lyceum. In the past, she volunteered as a docent for both the Crow Museum of Asian Art and the Kimbell Art Museum. Tara received a Bachelor of Arts degree from Rice University and a law degree from the University of Houston. She lives with her husband John and their two children, Artesa and Gage, in the Park Cities.

Kettle Drum

Vietnam/Shan States /Myanmar (Burma) Dong Son Culture (Dong Son named for a site on the Tonkin plain of Northern Vietnam), 6th century BCE–3rd century CE Copper Alloy H. 19 ¼ x D. 24 ½ inches Crow Museum of Asian Art, 1982.19 Kettle drums, which were sounded by long poles, according to depictions on some drums, are shared among the cultures previously identified as “Dian” (Yunnan and adjacent regions in South China) and “Dong Son” in northern Vietnam. The Dong Son culture, centered on the Red River Delta, was present in Southeast Asia as far south as eastern Indonesia starting around 600 BCE until the third century CE. This drum has been linked to similar drum forms found in the Shan State, the largest Province in modern Myanmar (Burma). The use of such drums is a matter of speculation that ranges from roles in religious ceremonies for harvest or burials, practical matters such as summoning men for war, or more secular purposes. In folklore they are known as “rain drums” that were used to summon rain or placate storms.

MARY BLOOM Crow Museum Buyer for the Lotus Shop I resonate with this expertly crafted ancient piece. It tells us about the peoples who made it, their culture, their environment and if it is a rain drum the ceremony to summon rain for their crops. I also own a rain drum which I have had for many years and love.

I always loved when Mrs. Crow came into the Lotus Shop and purchased always the best pieces. She enjoyed beautiful, interesting objects from all over whether contemporary or with history. She made my job very worthwhile. Â I am no stranger to Asia and have loved all things Asian for many years. I have traveled extensively in Asia and enjoy the peoples and their individual cultures. I love sharing my experiences with our museum members and also am a great fan of Asian literature.

Our exhibitions at the Crow connect me in a deeper way to learning more. I am very pleased to have the opportunity to have the pleasure of being the Lotus Shop buyer.

Artistic passion is second nature to New Orleans native Mary Bloom. Her business strategies most often arise from learning in the company of industry icons, from creating memorable, profitable museum shops, and from owning the highly successful store Translations. Such is the world or art, architecture, and global retailing where Mary has spent her career in association with legendary specialty store creator Stanley Marcus, art collector and real estate magnate Raymond Nasher, retail guru Roger Horchow and contemporary architects. She credits her special knowledge of museum design and cultural vision to her work with multiple renowned museum directors as well. Her unique experience in retail shop design, buying and merchandising—plus her knowledge of global sources through extensive travel—have propelled Mary into high demand today as a visionary retail consultant to prominent museum shops and specialty stores around the world.

Bell with Seated Buddha Figure

Cambodia Khmer Empire (802–1431), 12th century Bronze H. 8 ¼ x Diam. 5 ⅛ inches Crow Museum of Asian Art, 1990.7 Relics of Khmer bronze casting include sculptures and ritual objects such as this bell.

Bells are used in Buddhist ritual to direct the mind and signal phases in ceremonial worship. On this bell, a small sculpture of the Buddha is seated at the center of foliated arcs that reveal a pair of dragon-like faces in the inner surfaces.

Bronze casting has a long history in Southeast Asia, arising sometime between 1500 and 1000 BCE. It was possibly independent of other technology in use in China during the period. By 500 CE it was a major industry.

LT. PAUL S. THAI Dallas Police “I chose the Bell with Seated Buddha Figure because it was from Cambodia, the country I was born. I lived in Cambodia for 16 years before coming to the U.S.A. I survived the Communist regime (the Killing Fields) in Cambodia from 1975 through 1978. Almost 2 million Cambodians died due to genocidal/inhumane tortures, starvation and malnutrition during these years. Nine of my siblings, my uncles, aunts and several cousins were among those unfortunate/innocent people. Cambodia was full of sadness and suffering during the Killing Fields era. The bell represents peace and tranquility to Cambodia and its people. However, religion was outlawed and forbidden during the Communist regime and most Buddha figures like the bell were destroyed.

So, Cambodian people did not have any place or figure to go to for peace and tranquility.

The figure brings back many pleasant memories of Cambodia to our community.

Therefore, the Greater Dallas Cambodian community feel honored, proud and grateful to have the bell preserved and displayed in the Crow Museum.

I am amazed with the variety of high quality and magnificent Asian artifacts/ sculptures from all over Asia. The museum is clean and located in the Downtown Dallas area which is very convenient for everyone. Plus, it’s a family friendly museum with very knowledgeable staff.

The museum’s vision statement is very meaningful to the Asian community. The arts and cultures of Asia are very unique, valuable and admirable. These arts and cultures should be shared with the world. The Asian community is very honored and grateful for the Crow Museum for their excellent effort in preserving and sharing the Asian arts and cultures.

Lt. Paul S. Thai came to Dallas as refugee on July 6, 1981 as a survivor of the Killing Fields of Cambodia. He has been with the Dallas Police Department for 33 years, and is currently a police lieutenant commanding the 2nd Watch of Communications Division of the Dallas Police Department. He has been an instructor for the Asian Cultural Awareness class at the Dallas Police Academy and the Dallas Fire Academy for 30 years. He is President of the Asian Peace Officers Association of Dallas, Vice president of the Cambodian American Association of Dallas, and serves on many other boards of directors of non-profit organizations such as the Greater Dallas Asian-American Chamber of Commerce, Asian Festival Committee, Asian-American Association of City Employees, Asian Heritage Month Celebration Committee, Gardeners In Community Development, Cambodian Buddhist Association of Dallas.

Jar on a Raised Foot

Thailand Ban Chiang Culture, ca. 600 BCE Painted Earthenware H. 14 x Diam. 8 ¼ inches Crow Museum of Asian Art, 1981.3 In 1966, a graduate student working in northeastern Thailand—not far from the Middle Mekong River that forms the border between Thailand and Laos—tripped over a root. He noticed that the ground also harbored broken remnants of pottery. This chance discovery led to official excavations near the modern village of Ban Chiang in the province of Udon Thani on the Khorat Plateau in Thailand.

The lowest levels of the site contained unmolested burials with skeletal remains, cast bronze tools, and undecorated or rope-patterned earthenware pottery. Slag and molds were also found, indicating that the bronze tools had been produced at the site. With this discovery, a new, sophisticated Bronze Age Culture—the first known in Southeast Asia, and apparently unrelated to Middle Yangtze River sites in China at Erhligang and Erhlitou—was added to world history. The dates of this culture are disputed, however they range from 3600 BCE forward. It seems to have declined by 200 CE.

DR. RICK BRETTELL Founding Director The Edith O’Donnell Institute of Art History, University of Texas, Dallas I chose one of my favorite objects in the museum, and the reason is that it’s made of ceramics. And, of course, Asian ceramics are amongst the earliest in the world. So I chose an old object from a culture that’s in modern Thailand today in the northeast part called Ban Chiang. And it was a culture that was found only in the late 20th century and turned into something that was really revelatory for the study of early human civilization and early agricultural civilizations because rice was found in the archaeology. It’s astoundingly simple and very modern-looking. And for that reason, it’s as close to being timeless as any object I can think of. If it was just put in a pedestal with no label and no date and somebody walked up to it, they wouldn’t be wrong in thinking that it was a contemporary work or a 20th century work. It has that kind of simplicity and clarity.

I was actually hired by Trammell Crow, Trammell S. Crow, years and years ago. We spent time with Clarence Shangraw, the great historian of Asian art from San Francisco.

We went through literally thousands of objects in the Crow’s warehouses to pick works of art. We looked at so many things. And then the idea of winnowing down so that it would be representative of what the Crows bought in their long history of buying stuff for the family, for themselves, for the hotels and properties, for various purposes . . . and making something comprehensible of it. And something that would add the kind of Crow take on Asian art to the city of Dallas. And so that was my favorite memory.

One of the great difficulties of the word Asia is that many people who we call Asian don’t think of themselves as Asian. What we mean by Asia and what Asians think of as Asia are two different things. It’s kind of interesting in a city in which the majority of the population is non-Asian, but which has a growing Asian population. The Asian populations really want to be connected with their own cultural patrimony in an important way. I think that’s what the Crow Museum of Asian Art has really done since its beginning. In the DMA, there’s wonderful Asian art, but it’s part of this huge general art museum, and so the museum can’t really make a special place for Asian audiences. This museum can really think about this growing and important and very well-educated community in the metroplex and really embrace the community with its objects and grow with the audience. And I think that that’s the unique thing about the Crow Museum and the difference between the Crow and the Kimbell, each of which have very important objects of Asian art.

Dr. Rick Brettell is the Founding Director of The Edith O’Donnell Institute of Art History and the Margaret M. McDermott Distinguished Chair of Art and Aesthetic Studies at the University of Texas, Dallas. He is among the foremost authorities in the world on Impressionism and French Painting of the period 1830-1930. He has taught at the University of Texas, Northwestern University, The University of Chicago, Yale University and Harvard University. He is also an international museum consultant with projects in Europe, Asia, and the United States. He established the Center for the Interdisciplinary Study of Museums at UT Dallas, and is also an art critic for the Dallas Morning News.

Vase

Korea, Gyeonggi province, Bunwon kilns Joseon period (1392–1897), 18th century Porcelain with clear glaze and underglaze cobalt decoration H. 7 ½ x Diam. 4 inches Crow Museum of Asian Art, 2010.24 During the Joseon period (1392–1897), the Korean elite favored white porcelain for its pure, frugal, and restrained beauty, a reflection of the minimalist and purist aesthetics associated with the new ruling ideology of Neo-Confucianism. Bunwon, the official kiln site that supplied the porcelain, was managed by the royal court. It was established in Gwangju, Gyeonggi-do province, around 1467 or 1468. This location was chosen due to its proximity to the Hangang River and capital city of Hanyang (present-day Seoul), and because it had an abundance of raw materials, including the best clay and firewood.

This delicately modeled piece, with its curved body, high, thin neck, and simple floral design with an abundance of white open space and unhesitant brushstrokes, attests to the superior craftsmanship of the period. The use of cobalt is an indication of elite status, as cobalt was a luxurious pigment originally imported from the Middle East and limited to items produced for members of the upper class and the royal household.

JORGE ALBERTO LOZOYA Director International Museum of the Baroque, Puebla, Mexico This is a very beautiful Korean vase that brings into my mind immediately the very tight connection between Mexican art of the Baroque and the wonderful masterpieces of Asia Pacific civilizations. Trade between the Western world and Asia during the 17th and 19th centuries was dominated to a great extent by the trans-Pacific communication led by Mexico. And, in that sense, it was through Acapulco that wonderful treasures of art and civilization from Korea, Japan, China, India, Indonesia came to the Western world. In the case of this vase, it’s very evident the influence of the high technology of Korean art in the development of Mexican pottery. Specifically, in the case of Puebla, the famous ceramic Talavera has a very, very clear link to the beauty of the use of color, and on the other, the extremely high technology that has survived through many, many centuries.

So, that’s why I picked this piece.

I have several favorite memories of this museum. Of course, I keep in mind the wonderful opening here in Dallas of the Talavera exhibition that we put together with the Crow and with a leading museum of Mexico City, the Franz Mayer collection. We at the International Museum of the Baroque, took years of preparation, collections from all over the world, coming into this magnificent project led, intellectually, by a young Iranian scholar who suggested, or proved, that the high technology of Mexican ceramics of the Baroque period was born in Baghdad during the 9th century, and that it has survived through the ages and through the geography in Mexico, and specifically in Puebla, and has advanced up to today, inviting and bringing to the art of contemporary craftsmen and creators of all Latin America. So, when we opened that exhibition in Dallas, it was, to me, one of the most moving and exciting moments in our very close relationship.

I have devoted half a century of my life to getting Western and Asian cultures closer.

And, in that context, in my own experience as a diplomat, and as a historian, the role played today by the Crow is unique in the world because here you are bringing together and developing new links, new attitudes amongst Asian Americans and civilizations, fulfilling a task that the entire world admires of the United States of America. The fact that you constantly work daily to understand each other because you are probably the society in the world with the largest complexity of cultural, ethnic, political institutions, traditions, and heritages that have to mix. And you do it wonderfully for the admiration of the entire world. The Crow Museum plays a key role in the promotion of constant and creative encounters of American sensibility with Asian civilizations, a very valuable process that highly contributes to world peace and international understanding.

I am very proud, in my small capacity, to be linked with this enormous effort.

Jorge Alberto Lozoya is an internationalist and historian. He graduated from El Colegio de México and Stanford University. During his long academic experience he has trained a couple generations of Mexican diplomats on Asian cultures and political systems. As an Ambassador of Mexico for thirty years, Lozoya has played a key role in international cooperation and in the promotion of significant exchanges and projects on Mexican and Latin American art.

Four Bronze Mirrors

Korea Goryeo period (918–1392), 12th–13th century Bronze Dimensions variable Crow Museum of Asian Art, 2014.6 Cast bronze mirrors, which appear to have originated in China before or around 1700 BCE, were a common luxury item throughout East Asia. Bronze mirrors such as these were essential items in the toilet sets of Korean aristocratic women. They have survived due to the East Asian custom of placing mirrors in tombs. This custom, which originated in China as early as the fourth century BCE, appeared in Korea during the tenth century. As with other luxury goods placed in tombs, the mirrors were meant to be used by the deceased in the spirit world. Because mirrors reflect images and light, it was believed they had the power to radiate light for eternity, magically illuminating the interior of the tomb.

One mirror depicts a ship sailing on a stormy sea facing a large dragon rising from the surging waves. Above this sea is a four-character inscription in Chinese archaic seal script, huang pi chang chon, which means “clear, vast, luminous heaven.” The other mirrors show repeated chrysanthemum patterns that can be found in the ceramics decoration of the period. The reverse sides of these mirrors, which are perfectly flat and smooth, would have been highly polished in order to form an excellent reflecting surface. The raised boss in the center of each mirror has a transverse opening for a loop of braided silk tassel, which would have served as the mirror’s handle; the mirror itself would have been supported by a lacquered wood stand.

GOWRI SHARMA Philanthropist and Art Collector The first thing that piqued my interest was that the mirrors have a modest presence and can easily be overlooked amongst grander pieces of artwork in the collection. One has to take the time in order to study the details so that the images and stories start to emerge. I love that there is a utilitarian aspect which resonates with the idea that beauty can exist in even the simplest of things. The historical context puts a more poetic light onto what could be considered mundane objects of vanity. Art is a powerful way to understand a culture or ritual. These four bronze mirrors give insight into both.

I have many favorite memories. I love attending the Indian classical music performances in the museum’s Main Hall surrounded by beautiful architectural art. Once I had the chance to witness Buddhist Monks creating a Mandala on the floor of the Main Hall.

They painstakingly sifted powders and mixed colors forming an intricate pattern. It was stunning! They swept up the Mandala at the end of the ceremony to symbolize the impermanence of all things. Each of us left with a renewed sense of peace and gratitude.

Years ago when I brought my daughter to the museum, I remember how her eyes lit up as we entered the glass hallway filled with the origami cranes. She insisted we purchase an origami paper set with directions at the Crow shop and had so much fun making cranes and other shapes all summer.

Our world is complex and the importance of having a place to understand different cultures respectfully cannot be underestimated. Art has the power to educate and inspire, and the scholarship on display at the Crow Museum does just that. I am impressed also with the wellness programming that ranges from Ayurvedic cooking to mindfulness workshops. The Crow Museum has been a valuable part of our lives in Dallas.

Gowri Sharma has lived in Canada and India prior to making Dallas her home for over 35 years. She has a Bachelor of Arts and a Masters in Architecture. Her philanthropy focuses on women, children and the arts, and she is active in the following organizations; a founding member of UNICEF USA’s Great Plains Regional Board, member of the Orchid Giving Circle at the Dallas Women’s Foundation, Board member of talkSTEM, Executive member of SAAVE (South Asian American for Voter Education, Engagement and Empowerment), Board member of the DMA (Dallas Museum of Arts), supporter of the DMA Acquisition Fund created by the Dallas Art Fair and a Board member of The Lamplighter School. Gowri currently works in the family-owned real estate development business and Top Pot Doughnuts with locations in Washington and Texas. She, her husband and daughter divide their time between Dallas, Boston and Seattle.

Stele with Ganesha

Northeast India Pala period (ca. 730–1197), ca. 9th–10th century Dark gray schist 13 ½ x 8 ¼ x 3 ¼ inches Crow Museum of Asian Art, 1982.10 Ganesha, the son of the Hindu god Shiva (destroyer of evil and transformer) and his consort Parvati (goddess of wealth and prosperity), is widely worshipped as the remover of obstacles, patron of arts and sciences, and god of intellect and wisdom, letters and learning.

Various legends account for his elephant-headed appearance. While Shiva was away on a meditation retreat, Parvati asked her son Ganesha to guard the door of their home.

Shiva was gone for many years, and when he returned, Ganesha did not recognize his own father and refused to let him enter. In a rage, Shiva cut off Ganesha’s head. In order to placate the distraught Parvati, Shiva replaced Ganesha’s head with the head of the first living thing he saw—an elephant.

Here Ganesha is portrayed holding his usual attributes, including an axe, a rosary, and a bowl of sweets, and is seated in the lalitasana position (posture of royal ease). The dark gray schist of this stele was commonly used for sculptural commissions during the Pala period. Ganesha is often positioned at the entrance to Hindu temples, and his image is a common sight in many homes throughout India.

CHARMAINE TANG Executive Director J. P. Morgan Private Bank Ganesha has a special meaning to me. I am not Indian or of Indian descent but my best friends both in childhood as well as my college years were Indian and Ganesha was always a presence in their home. I would ask because I was very curious, “Wow, this is a very interesting figure or God.” And my childhood best friend said, “You know, whenever I have a tough time I have Ganesha and it is who I look to when I’m going through a difficult challenge or an obstacle.” We were kids. And interestingly in college, the same thing happened to me. My best friend in college was going through a very tough personal time, her mom was very ill, and there was Ganesha and the very exact same thing. I said, “What is Ganesha?”

So whenever she was going through a tough time she would pray to him and meditate with Ganesha; he seems to make an appearance in the homes of those who are close to me, so it really makes me feel very warm and familiar to see this work of art.

I love the feel of the museum. I think it’s a very warm, inviting place. I had an event here for the Orchid Giving Circle, which is actually a women’s Asian American Giving Circle at the Dallas Women’s Foundation that I’m a founder of, and it was very touching to have our first event here and really celebrate the Crow Museum and the art around us as well as be in the company of some really passionate Asian Americans who want to forward philanthropy and art and culture in our city. As a philanthropist, I think it’s really important to be able both as an Asian American to articulate to the broader community how important this artwork is in our community and to celebrate diversity and bring Asian art to the forefront, and for the next generations really understanding how important it is to carry this torch on.

The vision of celebrating the arts and culture of Asia is tremendously important to me. I am Asian American. My heritage is the Philippines so I am 100% Filipino by descent but grew up an American; I was born here. I have kids now and they are second generation in America, and being able to show them the artwork, which is simply beautiful—as well as the stories and legends behind the art—it creates a conversation and the ability to sort of extend and pass on traditions and stories and legends forward to the next generation.

Charmaine Tang is an Executive Director of the Private Bank with J.P. Morgan, where she advises her clients on complex issues, including wealth transfer, investing, tax planning, charitable giving, leverage, and traditional banking. Prior to joining J.P. Morgan, Charmaine was Senior Vice President at U.S. Trust, Bank of America Private Wealth Management, where she was the Philanthropic Market Executive for the Central and West regions. In this role, Charmaine led the philanthropic practice for U.S. Trust® clients, working with nonprofit institutions, philanthropic individuals, and families on charitable giving.

Charmaine serves on the boards of the Dallas Holocaust Museum/Center for Education & Tolerance, The Dallas Women’s Foundation, and The March of Dimes Foundation–Dallas.

She is a founding member of the Orchid Giving Circle for Asian-American women at Dallas Women’s Foundation and the Kids Against Hunger Council at the North Texas Food Bank.

She is an active volunteer and serves on the parents’ associations at her children’s schools: St. Mark’s School of Texas and The Lamplighter School.

Dagger

India Mughal period (1526–1857), 19th century Steel, nephrite, gold, and gemstones H. 4 x 12 ¾ x ¾ in. (10.16 x 32.38 x 1.9 cm.)

Crow Museum of Asian Art, 1960.17 The Mughal period, during which India was under Muslim rule, was a time of great artistic innovation across all disciplines. As Islam forbids the creation of human figural designs, Indian artists sought inspiration in the ordered mathematics of geometry and the wonders of the natural world. Images from nature were extremely popular in the design of articles of personal adornment, and legions of graceful works in this style survive. Most feature the characteristic Mughal scrolling motifs of vines, tendrils, leaves, buds, and flowers, survive.

This dagger hilt embodies the refinement of late Mughal-period jade inlay techniques.

This piece has been expertly carved out of a solid piece of jade, polished to a high sheen, then decorated on either side with a series of floral sprigs. The stems are inlaid in gold, the petals in red gemstone, and the leaves in green gemstone. The practice of inlaying metals and gemstones—especially in jade—so that they cover nearly the entire surface of stone distinguished the work of Mughal-period artists in India from that of their contemporaries working in the same media elsewhere in Asia and the world.

NIDA BANGASH Visual Artist This exquisite Khanjar (Dagger) is a fine example of unique taste and refined craftsmanship significant to the Mughal era. I have spotted these ornate daggers hanging from the waistband of the beholder as part of formal Mughal attire in numerous painted manuscripts. I am drawn to the contrast between the sheer sensuality in the simplicity of the surface treatment and complexity of narrative put forth by the floral ornamentation, that pays homage to layered South Asian history. It is often assumed that in the Islamic world, where figurative art was forbidden, ornamentation—both geometry and islimi designs—flourished as a substitute for figures. It is fair to say that the eclectic artistic traditions of the Mughal courts effectively borrowed from Persian, Indian as well as European renaissance sources where figurative art not only existed but also flourished to a degree of excellence alongside ornamentation. This is evident not only in miniature paintings but also other examples of objects such as this dagger.

I have many precious memories of being at the museum. But the one that has particularly stayed with me was when I walked into this museum for the first time maybe a few days after I had left Pakistan and moved to the United States. I remember spending hours in a temporary exhibition called “Seeing is Believing”, and staring at the exquisite details in the miniature paintings by B.G. Sharma. I was homesick and yearning for a space that would feel like home, perhaps I was looking for a ground to feel my feet on that I could call mine. The Crow Museum offered just that, it was an enclave that seemed familiar that I felt safe in. It’s amazing what art can do!

The city of Dallas is one of the most diverse places in the nation that houses a large number of Asian communities, by that I mean the entire continent of Asia. I have lived in the Dallas area the past five years now and witnessed this growing community alongside which the Crow Museum’s tireless efforts to educate local communities and celebrate a vast array of cultures—it is not only commendable but also crucial. I have had the honor of being a small part of the museum’s educational program and have seen firsthand the dedication that is put into reinforcing social inclusion in an effort to bring people together. For me, the Crow Museum plays a complex socio-cultural role serving as a resource center that affords windows into other cultures, ones that are fascinatingly complex and very diverse in essence. Thousands of miles away from home, in search of shared narratives, this is where I felt connected and bridged between one home to another.

Nida Bangash is a visual artist, born in Iran and brought up in Pakistan. She is trained in the traditions of Persian and South Asian miniatures and experienced in employing these techniques in contemporary art. The complexity and diversity of Bangash’s identity shapes her art practice and her understanding of the world. Her roots in cultures with their rich history of sharing and influencing one another, in particular miniature painting, has exposed her to diverse worlds of pattern. Pattern sits at the center of Bangash’s art practice. Her work uses the language of patterns as a means of weaving together the complexities of her cross-cultural experiences. She is currently enrolled in an MFA program at Southern Methodist University.

Pair of architectural panels

South India Nayak period, 18th century Sandalwood 47 ½ x 13 ½ x 3 inches Crow Museum of Asian Art, 1981.15 South India has a vibrant sculptural tradition that includes the use of ornate architectural decoration in both secular and religious contexts. This pair of panels exemplifies the detailed craftsmanship of the South Indian woodworking tradition.

Each decorative panel, made of deeply carved sandalwood, shows an ascending series of mounted warriors in raised relief. The spaces between each figure are populated with a host of figural imagery, including attendants with parasols, animals, and mythological creatures. The edges of this dense composition are marked by linear borders with stylized decoration. They effectively create several registers in keeping with the scale of the ascending warriors.

The gentle curve of the panels’ outer edges and their striking silhouettes are typical of the graceful accents found on the doorways and balconies of the religious architecture of South India. Panels such as these would have been used in the construction of temples or religious carts. Wooden religious or temple carts were miniature models of temples that were paraded through the streets during special festivals and celebrations.

BAKER LEWIS HOFLAND Student, age 12 The carving of this sculpture looks very delicate. It looks like the artists spent a lot of time on creating the design. I think it resembles people riding off into battle. I like how they use the horses and elephants as their focal point. This object is significant to me because growing up at the museum, I saw many Indian art works where they depicted people like this with jewels, robes and ornament.

I like the Chinese New Year celebration. I remember going there as a little kid and seeing all of the colors and all of the culture and how it was really cool that we got to be there, because a lot of people aren’t able to have that opportunity to see the dragon dances, and the fireworks and taste the food from all the way across the world in Asia.

EDWARD OTTO HOFLAND Student, age 10 I like the action going on in the piece. Also, I like the horses and the decoration on the saddles. All of the people and their clothing catch my eye. I can see all of the detail that the artist put into the work: the elephants, the horses and the people. This reminds me of my grandparents’ horse and his beautiful saddle.

The thing I like the most about the Crow Museum is when the monks come and do the mandala with the sand.

Benkei Steals the Bell

Japan Edo period (1603–1868), 18th century Wood plaque, applied ivory, gold and silver lacquer H. 27 x 21 ½ x 2 inches Crow Museum of Asian Art, 1987.2 Seal: Nobuyuki (a popular Japanese first name; artist’s full name unknown) Benkei was a legendary warrior-monk of great strength, whose apocryphal feats reveal a man of extraordinary cunning and martial skill. His loyalty and courage are central themes in narrative romances and traditional Japanese dramas, as well as modern manga and video games. In this plaque, Benkei, with his superhuman strength, hoists the bell up Mt. Hiei.

The tale concerns the revenge that Benkei took against monks from a rival monastery at Mii-dera who had treated him with disrespect. Monasteries during the late Heian period were armed centers of power and seats of administration and culture and religion. A long-standing dispute between two Tendai sect monasteries—Enryakuji on Mt. Hiei, known as the Mountain Order (sanmon) and Mii-dera, known as the Temple Order (jimon)—underlays the personal affront to Benkei. One version of the story goes: Benkai, wishing to cause mischief, heard Mii-dera’s bell toll, and began to plot his revenge. He waited until all the monks were asleep and then snuck unto the Mii-dera grounds. He slipped the bell off its iron hook, and hoisted it to his shoulder. He then began to make his way back, carrying the bell all the way up to Enrykuji. When the bell was hung, the monks of the Mountain Order gleefully rang it, but all that was heard was a homesick “eeno eeno eeno,” “I want to go home” in Kansai dialect.

When the monks of the temple order heard the cry, they began to search for their precious bell. They tracked it to Mount Hiei and the company of their rivals, the Mountain Monks. But how to get it back?

Benkei, then, burst upon the scene, eight feet tall and carrying a pine staff. He offered to restore the bell to its proper place, but only in exchange for food. “I am hungry; you must find a cauldron as large as this bell, fill it with bean soup, and provide my meal for this day.” The monks, so happy at the prospect of the bell being returned, they gave no thought to how much food would be required to meet the stranger’s terms. He ate the monastery out of all its stores, before declaring himself satisfied.

Then Benkei balanced the bell on a rock, gave it a sharp thwack, and the bell rolled down the hill to Mii-dera.

KIMBERLY SMITH Senior VP Strategic Initiatives & Community Engagement Smith Protective Services & Personnel Solutions This piece is visceral for me at first glance—I laughed when I saw it and had to know more about the character and the context of the artwork. I love pieces that spark immediate curiosity and invite me to explore a door of dharma.

My favorite memory at the Crow Museum? Wow—this is difficult to narrow down.

I find myself smiling and thinking of so many sweet moments and wonderful people I have met here. It is more like a treasure trove of moments that share a quality of stillness and discovery—the commitment to compassion is most profound for me to share in community.

The vision statement is a commitment to humanity that enriches our local community by sharing the wisdom and beauty of Asian arts and cultures. I feel grateful that we have such a place here in Dallas to rely on consistently over the years. There is a felt quality in the space that transforms the vision into a lived experience through the quality of the art and people who are drawn to the space. I also want to say thank you from the veteran’s perspective that the museum has these programs for veterans that a lot of people wouldn’t know about, and I don’t know how many veterans do know about them, but I know that the Qigong program was a really powerful practice for me. The fact that the museum offered that for free to veterans made me really appreciate what the museum is doing here even more because there was this value proposition for an audience that might not normally have exposure to these types of things, and to do that for free and to provide that to the public for veterans is really meaningful to me. So I appreciate that a lot.

Kimberly Smith is a member of the 4G executive management team for Smith Protective Services and Personnel Solutions focused on strategic initiatives and workforce development. She is also a Senior IT Business Analyst for Siemens PLM Software, where she is active in the Employee Resource Group and as communications chair for the Women’s Network at Siemens USA. She also offers training on Mindfulness at work in the corporate environment.

Kimberly is a U.S. Air Force veteran with experience in airborne reconnaissance and joint cyber efforts. Her technical expertise is balanced with interdisciplinary degrees in Arts and Technology from the University of Texas, Dallas. She is passionate about the relationship of emerging technologies and indigenous wisdom traditions and enjoys nature photography and capturing ‘moments of beauty’ in stillness. She is also an artist with works in ‘ether-realism’ included in Ken Wilber’s book Introduction to Integral Theory.

Crystal Sphere

Japan Meiji era (1868–1912) Rock crystal, silvered and gilded mount Sphere: Diam. 11 ⅜ inches Stand: H. 11 ½ x Diam. 12 Crow Museum of Asian Art, 1983.15 Rock crystal spheres were popular decorative objects in Japan during the Meiji era (1868–1912). They were configured to clear the mind of the mundane and stimulate the imagination. Rough spheres cut from rock crystal, which was either quarried in central Japan or imported, were painstakingly polished by hand using an abrasive mixture of finely ground iron oxide. Finished spheres were mounted on custom-designed stands, frequently themed to reference water.

Myths that tell of spheres of luminous substance rising above waves and being pursued by dragons are found in several East Asian cultures. The stand for this crystal shows an intricately fashioned dragon, jaws agape, rising amid ocean sprays toward the unblemished transparency of the crystal orb. Buddhist and Daoist interpretations of this imagery associate the crystal with the pure clarity of wisdom; other lines of thought connect the orb with the moon and the dragon with the forces of fructifying rain.

The Crow Museum’s flawless crystal sphere is the world’s second largest. The largest, at 12 ⅞ inches in diameter, is in the Smithsonian Institution in Washington, D.C.

CHARLES SANTOS Executive Director/Artistic Director TITAS Presents When I’m in this museum, there’s always a meditative contemplative quality that is different than in other museums.

Probably it’s the nature of the work that is exhibited here.

Recently, it is this crystal orb that I think is so fascinating. It’s from the Meiji Era, a period of enlightenment in Japan, which I found very interesting, but the orb, it’s so simple and yet it’s so complex in so many ways. It was meant to clear the mind of the mundane and inspire creativity and imagination. That’s perfect for me. I really love the simplicity of it; but to get to that point of simplicity, it was a huge amount of work to make this crystal so perfect, and that this culture produced this at the time that this piece was created is extraordinary. So I connected with this crystal orb a lot, and then I sort of had a fantasy of a Harry Potter premonition coming from the crystal if I stared at it long enough. It didn’t happen.

My favorite memories here are in the nature of collaboration. We did a talk with Cloud Gate from Taiwan. The Crow Museum hosted a dinner and we had a really wonderful conversation with the Artistic Director from Taiwan and Amy and myself, and the same thing with Jessica Lange and with Shen Wei. I love the nature of the conversation and when I look at the audience, I see TITAS subscribers are there, but also people from the museum, and you can see the audience physically building in front of you for both organizations in the sharing of culture. That’s what it’s all about for me. The exhibitions, they’re always stunning for me, but in my current mindset, building cultural collaborations have been my favorites experiences here.

The museum statement about loving the arts and culture of Asia is relevant on so many levels, in particular in this city, where we have a very large Asian population. I enjoy the spirit of collaboration that this museum is bringing to the district and to our cultural landscape, and recognizing that we don’t work in a silo. We work as a community.

They’ve been at the forefront of building broader exposure for the Asian culture and for living in a borderless society.

The Crow Museum’s Lotus Shop is a gem in this district. It’s my favorite gift shop. I think this is an amazing museum and it’s doing nothing but growing and adding to the richness of this cultural landscape, so whatever I can do with the Crow, I’m in.

Charles Santos has led TITAS Presents as the executive director and artistic director since 2001. TITAS Presents brings internationally touring artists to Dallas and with Mr. Santos has established a world-renown reputation for artistic excellence, innovation, and creative vision. He has an extensive history in the arts including dancing professionally, founding the Austin Festival of Dance, managing, producing, and fundraising in New York for Eos Orchestra, DRA, and the World Trade Center’s Lower Manhattan Cultural Council. Currently, Mr. Santos continues to serve on local and national boards including Dance/USA, Dallas Arts District, DRA National, and BTWHSPVA Advisory, and works regularly with the NEA, TCA and multiple city’s granting organizations. He has fostered an era of cultural collaboration and critical attention to the cultural landscape of Dallas.

Isshin (active 19th century)

Vase with Cranes and Flowers

Japan Meiji era (1868–1912), 19th century Iron with gold, silver, shakudō (gold and copper alloy) and shibuichi (silver and copper alloy) H. 10 x D. 4 inches Crow Museum of Asian Art, 1995.2 Inscription and seal on base: Isshin koku (“carved by Isshin”), Miyamoto (“the Miyamoto Company”), and V.M. initials.

With the overthrow of the Tokugawa Shogunate in 1868 and the restoration of Imperial governance, Japan radically reformed its political, social, economic, and military structures. This resulted in a highly centralized bureaucratic government, a constitutionally-mandated elected parliament, well-developed networks of transportation and communication, release from feudal class restrictions, an educational shift toward sciences and engineering, and a rapidly growing industrial sector that supported a powerful army and navy. Within a few decades, Japan was transformed from an isolated feudal society to a dominant international player in Asian affairs.

Early in the Meiji era, laws were passed to remove the privileges accorded the samurai class, which had long stood alongside aristocrats at the top of the social structure.

Classes were declared to be equal, and in the interests of public safety, samurai were prohibited from wearing the two swords that had previously marked their status. As a result, the highly skilled metal craftsmen who had supplied samurai with weapons and costumes turned to other ways of plying their trades. One outlet was decorative arts incorporating metalwork, as seen in this elegant vase.

LILY CABATU WEISS Executive Director Dallas Arts District Visually I connected to the curvilinear shape first, and then to the cranes; I have always loved what cranes represent. And in the Legend of the Thousand Cranes it represents hope and long life and health, and everyone wants all of those, right? Historically when I saw the political implications of the time period early in the Meiji era, then I knew that it was the right piece to choose. I loved the idea that the metal craftsman actually turned to art after they no longer had the opportunity to craft the swords that the samurai wore as part of their status. In the world today, I think that’s a wonderful metaphor that metal artists could direct their craft towards the arts instead of making weapons.

Annually what I love, and it brings me great joy, is when the Tibetan monks come and they design and develop the mandalas. I also love, with my background at Booker T. Washington High School for the Performing and Visual Arts, when the students got to interact with the Tibetan monks and the exchange between the students and the Crow Museum of Asian art was one of my favorites. Another one of my favorites is that the Crow Museum has always made the collection that is present in the museum very relevant by collaborating with current artists today. This has been done on a regular basis with Titas Presents, and I know that they are collaborating again with bringing the Beijing Dance Theater. Amy also collaborated with Dallas Black Dance Theater when the dancers from Seoul, Korea came through. So, I love that that brings the art to life, and then it is a place of peace, and certainly one of our long time visual art printmaking faculty members, Eva Kuchai, we actually celebrated her life in the galleries, and it was a beautiful and exquisite and fitting space of peace and harmony and a reflection of her life.

I think that Asia for a lot of people means only one thing, and it is not as encompassing if we look at the globe how large Asia is. I think that the Crow Museum has introduced us to cultures through art, and understanding that we wouldn’t normally have experienced. And certainly as a first generation Filipino American (my mother actually came over directly from the Philippines), it is tradition in most cultures to pass on the culture through art and actual traditions. For my mother, she passed on the dances of the Philippines, she passed on the artwork of the Philippines, and we began to understand the joy of the Filipino culture. The respect and the understanding that we have for each other is seen through art, and that’s why I love the arts.

Lily Cabatu Weiss is Executive Director for the Dallas Arts District. She has taught on the dance faculties at Houston’s HSPVA, Southern Methodist University and Booker T. Washington High School for the Performing & Visual Arts, where she served as the Artistic Director and Chair of the Dance Department, a national model. Her work was instrumental in the Texas Medal of Arts Awards and was recognized in two feature stories in Dance Teacher Magazine and a feature cover story in December 2017 Arts + Culture Magazine. She has worked tirelessly over the past four decades to further the arts and education in the community. Her work continues as she provides access to the arts through free programming with the Arts District’s cultural, corporate and educational partners.

Vase

China Qing dynasty (1644–1911), Qianlong period (r. 1736–1795) Cast bronze, cloisonné enamels, and gilding H. 29 ¼ x Diam. 14 inches Crow Museum of Asian Art, 1999.29 This lavishly decorated vase may have been made in the cloisonné imperial workshop first established in the Forbidden City by the Kangxi emperor (1654-1722). From the late seventeenth century on, cloisonné or cellular enamels were popular in the court for domestic goods, ritual vessels, and purely decorative items. On this vase’s tapering neck are two gilded handles in the shape of stylized chi dragons. Six raised ruyi lappets encircle the rounded shoulders. The vase is covered with magnolias, peonies, lotuses, chrysanthemums, and prunus, which symbolize the four seasons. They are interspersed with archaic jade bi discs in purple and green. The early appearance of Chinese cloisonné can tentatively be traced back to the Yuan dynasty (1279-1368). The technique reached its full maturity by the eighteenth century, marked by the kinds of dense and complicated designs seen on this vase.

DR. CHARLES T. KU Director, Member of the Board of Directors Crow Museum of Asian Art I chose this one because of its remarkable beauty and it is absolutely gorgeous. This piece of art was made about 300 years ago, it required a great deal of patience for all the details.

My favorite memory at the Crow Museum is the celebration of the Chinese New Year activities for the last two decades.

Dallas is an international city with different diversities and it will not be complete without an Asian art museum and the Crow Museum of Asian Art is a center of the Dallas Arts District.

For over forty years, Dr. Charles Ku has used his work in the field of dentistry as a means to serve those around him. As a small child, Charles Ku and his family left China in 1949 and the Ku family eventually made their way to Taiwan, and there, Charles Ku grew up learning about the provision and care of the Lord from his parents, Dr. Hsein Ting and Ruth Ku. In 1967, Dr. Ku left Taiwan for Baylor University. After completing his undergraduate degree, he and his wife, Mary, moved to Dallas to begin his education at Baylor College of Dentistry. Four years later, in 1974, he opened up his general dentistry practice in Lewisville. Since 2001, Dr. Ku has been a member of Dallas Baptist University Board of Trustees, and from 2004-2005, he served as chairperson. He has been a member of the Board of Trustees for Baylor University Medical Center since 2012, and board member of the Crow Museum of Asian Art since 2015.

Horse with ornamental trappings

China Tang dynasty (618–907 CE), 8th century Earthenware with sancai (three-color) glaze H. 27 ¼ x 28 x 15 inches Crow Museum of Asian Art, 1986.16 In Chinese culture, horses have long symbolized power, wealth, and military might.

A horse’s virtues were likened to those of humans; they reflected desired qualities such as free-spiritedness, high energy, and the successful achievement of one’s goals. This horse figurine—with splashed sancai or “three-color” amber, green, and cream glaze and tasseled harness—exemplifies tamed strength. The dark, rounded body suggests it was modeled after the legendary Ferghana horses from Central Asia, known to sweat blood while galloping, and prized by Tang emperors for their speed and endurance.

Horse burial objects like this reflected the high rank of the tomb owner and family, and a Confucian desire to harmonize the living and spirit worlds.

ABRAHAM CARRILLO Director of Operations Crow Museum of Asian Art My personal story about the museum starts in 2006. I actually began my career at the Crow Museum as a security guard and I worked part time and I did that for three years and then I graduated from college at the University of Texas at Arlington and I was ready to leave and go on and do something in the for-profit world in business management when Amy [Lewis Hofland], in her visionary way, asked if I was interested in doing some accounts receivable work in the museum’s administrative office. That was the beginning of my administrative career at the Crow. From there, I worked in accounts receivable, accounts payable, information technology, as well as HR, operations, facilities management, security, and I think I was even an interim shop manager at one point in time for the Lotus Shop. So that’s my story and I’m happy to be here for almost 12 years now.

The Tang dynasty horse for a long time was actually the feature object on the Crow Museum’s brochure and I have spent some time with this horse over the last 12 years.

In the gallery, it was always sought after by visitors and I sat and stood next to this horse for many, many hours, and I looked at the horse every day as part of my job to make sure that it hadn’t been moved, that it was okay, and that it was ready to be shown off to the public, and so the horse and I are best friends and we’ve been best friends at the Crow for over a decade.

There’s one memory about my time here at the Crow Museum that I would like to share. In 2009, there was an intern here at the Crow Museum. Her name was Jessie Frazier and I met her at some point because I did her onboarding for her internship, but I can’t quite exactly pinpoint the first time I saw her. And it’s significant, because I didn’t know it then and I didn’t know it for several years, that that would be the person that I end up spending the rest of my life with. Jessie and I got married on October 28, 2017, and so we are coming up on our first year anniversary.

The vision statement of the Crow Museum of Asian Art is “To love and celebrate the arts and cultures of Asia” and that’s significant. For me, it represents clarity - clarity in the idea that started with the Crow family. The Crow family opened the museum 20 years ago this year and I have the pleasure and opportunity to carry forward that vision for many more years to come.”

As Director of Operations, Abraham Carrillo manages the daily operations of the museum’s security staff, human resources, information technology, and facilities. In 2017, Abraham took on the management of the recently completed renovation at the Crow Museum of Asian Art. Abraham started working at the museum in 2006 as a security guard and was promoted to Director of Operations in 2015. He holds a bachelor of business administration from the University of Texas at Arlington. An active proponent of the Dallas Arts District, Abraham maintains extensive community involvement through his service on the Dallas Arts District Infrastructure Committee.

In 2017, he completed a yearlong commitment to the Mayor’s Star Council. Abraham is also a board member for Dallas Neo-Classical Ballet. Abraham and his wife Jessica live in downtown Dallas with their basset hound, Jenny.

Brush pot

China Qing dynasty (1644–1911), Qianlong period (r. 1736–1795), 18th century Ivory H. 7 ¼ x D. 5 inches Crow Museum of Asian Art, 1978.6 During the Qing dynasty reign of Qianlong, stable political power and unprecedented prosperity created the perfect environment for the production of exquisite and intricate artifacts to flourish. This bitong, or brush pot, exemplifies the extravagant style and excellent workmanship of the late eighteenth century imperial ivory studios. The exterior of the cylindrical vessel is deeply carved in relief to depict a group of luohans (immortals) among the bridges and pavilions that grace a dramatic, mountainous landscape. Luohans were saintly attendants of the Buddha. In China, they were frequently fashioned as a group of eighteen sculptural figures. The borders above and below the central scene are filled with stylized leaf and meander patterns, and the spaces are filled with a plethora of animal imagery. Because ivory was difficult to obtain and therefore expensive, vessels such as this became symbols of an imperial power that had reached the furthest corners of Asia.

SOPHIE EVERITT College freshman “The ivory brush pot has many intricate details and as a whole represents the peak of perfect craftsmanship. Ivory is a very flexible medium that works well with any kind of tool, demonstrating the potential within the raw material. The ivory brush pot symbolizes both material status and historical value and holds a type of aesthetic integrity that really conveys the thought and careful attention put into the piece. All of these qualities reflect those I aspire to achieve in my artwork.

My favorite memory at the Crow was definitely the 2018 Chinese New Year festival at Northpark. I am part of Lee’s White Leopard Kung Fu’s many demonstration teams which include lion dance, dragon dance, kung fu, and breaking. Our team has always participated in the festival, blessing the museum and Lotus Shop, but this year was special. We had moved to Northpark because of the weather so things were a bit different this time around. At first I wasn’t sure what to expect but when I was met with the buzzing festival I was absolutely speechless. The bottom floor was lined left to right with activities, information booths, and adorable puppies for adoption! Each activity was enriching and exciting, and best of all, each activity booth was manned by a few of my friends at Booker T. who frequently assist the Crow at all of their festivals.

It was so exciting to see how many people were interested in Asian culture, willing to learn and part take in new activities. It really warmed my heart to see people from all walks of earth in one place excited to celebrate our culture and rich history.

I can confidently say that the Crow Museum has helped me feel a real connection to my culture and gain a better understanding of what it means to be Asian. There are so many people out there who don’t truly know what Asia is as a people and as a culture.

The Crow is the gateway to understanding who I am today and introduced the concept that Asia can be both historical and contemporary. Being adopted from China meant that I had to work hard to kindle and maintain my connection to my culture. The museum has been a tool paramount to unlocking the history of my culture and the makings of who I am today and has been a part of my life since I can remember. Being introduced to the many Asian cultures from a young age through Yogiños and various family programs has taught me to make connections to history and to pop-culture trends and build upon them through my art. Through the Crow I was able to learn so much about myself and others, learning to see people from a different perspective. The museum has taught me to appreciate a wide variety of art and has lead me down the artistic path I’m on today.”

Sophie Everitt is a college freshman currently pursuing animation at the Pratt Institute in New York.

Jar

China Ming dynasty (1368-1644), Jiajing reign (r. 1522-1566) Porcelain with cobalt blue on white H. 18 ¼ x Diam. 17 inches Crow Museum of Asian Art, 1998.1 Reign mark on the base of the vessel: “Produced in the period of Jiajing of the Great Ming” This beautifully intricate blue and white porcelain jar was made in the late 16th century during the rule of Jiajing (r. 1522-1566), an emperor of the Ming dynasty. It was crafted in Jingdezhen, which is located in present-day Jiangxi province, which was the capital of Chinese porcelain during the Ming and Qing (1644-1911) periods.

The underglaze blue pattern on a white background is the most well-known and classical representation of Chinese ceramics in the later imperial age. The painted, stylized shou characters on lotus blossoms symbolize longevity and purity.

MIKE RAWLINGS Mayor of Dallas [This object] shows the beauty in the simplicity of its design.

I love how old it is at the same time. It shows you that real beauty is timeless.

Mike Rawlings is the 61st mayor of Dallas and the longest-serving mayor in more than 45 years. During his time in office, he has focused on spurring economic development in the long-overlooked southern portion of Dallas through his GrowSouth initiative, improving public education, combatting poverty and domestic violence, developing parks, elevating the city’s international profile and turning Dallas into a top destination for artists, young professionals, families and corporations.

Public service has long been important to Mayor Rawlings. In the years before his 2011 election as mayor, he served as the Chair of the Dallas Convention and Visitors Bureau (VisitDallas), the city’s Homeless Czar and president of the Dallas Park Board. Voters re-elected Mayor Rawlings by a wide margin in 2015 to his second and final four-year term, which runs through June 2019. Rawlings and his wife, Micki, live in the Preston Hollow neighborhood of Dallas. Their daughter, Michelle, an artist, and their son, Gunnar, and his wife, Gaby, also live in Dallas.

Amitayus China Qing dynasty (1644–1911), Qianlong period (r. 1736–1795), 1761 Gilt bronze H. 8 ¼ x L. 3 ½ x D. 4 ½ inches Crow Museum of Asian Art, 1982.47 Inscription: “Respectfully made in the xinsi year (1761) of the Qianlong reign, Great Qing” Appearing as a bejeweled, youthful deity and seated in full lotus position with hands in the gesture of meditation, this figure of Amitayus, “The Buddha of Boundless Life,” is an aspect of Amitabha, “The Buddha of Infinite Light.” In Tibetan Buddhist art, he frequently appears seated in lotus posture, crowned and ornamented in the manner of a bodhisattva, and holding in his hands a vessel containing the nectar of immortality.

The inscription indicates that the statue was produced in China, but the artist was influenced by the religious art and styles of Lamaist or Tibetan Buddhism, which was practiced by the Chinese Qing emperors. During the Qianlong period, the emperor had thousands of Amitayus images cast in bronze to celebrate the birthday of his mother, the Empress Dowager. On her seventieth birthday in 1761, the Qianlong emperor gave her 9,999 images of Amitayus to wish her long life. These Amitayus images were made in the Nepalese style: youthful figures with flowing locks of hair, floral earrings, and a necklace with three leaf-like pendants beneath the central medallion.

This image, like the rest of the Amitayus figures made during the reign of the Qianlong emperor, was thought to grant long life. A comparable work is in The Avery Brundage collection at the Asian Art Museum San Francisco, but inscribed with a different year (1770). (Amitayus, the Buddha of Boundless Life, Asian Art Museum San Francisco, B6B140)

CAREN LOCK Regional Vice President and Associate General Counsel of TIAA Board Chair and a member of the Executive Committee at the Dallas Women’s Foundation The Amitayus statue speaks of strength, tranquility, and longevity. I connected with this piece of Chinese art because I grew up in a spiritual family where various Buddhas were displayed. Amitayus is a strong female figure that was displayed in our ancestral home in China and is a connection to my past. In the present, Amitayus’s meditative state reminds me to find calm and peace when life’s challenges become overwhelming.

My favorite memory of the Crow Museum is taking my children to celebrate Chinese New Year. It is a lively street festival reminiscent of my own childhood days in Hong Kong. The origami tables were their favorite and to this day, I have some of my children’s priceless creations. The Crow is able to effortlessly bridge the East and West in a fun, educational, and vibrant environment.

The Crow Museum of Asian Art is a gem in the heart of Dallas and stands unique in showcasing the arts and cultures of all of Asia. It celebrates the diversity in Asian cultures while highlighting individual countries’ unique history. It serves not only as place for quiet contemplation of the art but is instrumental in bringing the Asian community together for activities and celebrations. Having a museum devoted to Asian art and culture has elevated Dallas to a true international city.”

Caren K. Lock is the Regional Vice President and Associate General Counsel of TIAA. In her role at TIAA, Caren is the primary interface for the company on all legislative, executive, administrative, and regulatory matters in the southwest and mountain regions. She also directs all legislative lobbying and regulatory advocacy in her states.

At the company, Caren is active in gender and racial diversity initiatives. She was the former Corporate Co-Chair of the Women’s Employee Resource Group and is currently a member of the Denver/Broomfield Leadership Council and Dallas Leadership Council.

Caren is the Board Chair and a member of the Executive Committee at the Dallas Women’s Foundation. Caren is also an Executive Board member of the Texas State Bar College. Previously, she has also served on the Boards of Girls Inc. Metropolitan Dallas, Dallas Bar Association, State of Texas Asian Pacific Interest Section, and was President and former Board member of the Dallas Asian American Bar Association, and the Center for Nonprofit Management in Dallas. Caren is also a member of The Dallas Assembly and a graduate of The Leadership Dallas Program. Caren co-founded The Orchid Giving Circle that provides community grants to support social change and services to the DFW Asian Community.

Seal

China Qing Dynasty (1644–1911), Yongzheng reign (r. 1723–1735) Nephrite 6 ¾ x 6 x 6 inches Crow Museum of Asian Art, 1988.46 Inscription: Yangxin shi bao (“Treasure of the chamber of cultivating the mind”) This imperial seal is carved out of white nephrite. In traditional fashion, the exterior panels of the square base have been left undecorated to enhance the smooth sheen of the exceptional quality of the stone. The top is conventionally crowned by an ornate carving of a highly stylized double dragon, long a symbol of imperial power, pierced through its midsection with a hole for a traditional silk tassel, here missing. The base is inscribed, in Chinese seal script, with a four-character seal, “Yangxin shi bao” (treasure of the chamber of the cultivating mind). This is a direct reference to the Yangxin Dian (Hall of the Cultivating Mind), which housed the formal residential quarters for the emperors of the Qing dynasty.

Honorific seals such as this type were used, among other things, to document official inventories. When not in use, they were neatly lined up in rows on stands or cabinets in special rooms in the Forbidden City. The Yongzheng emperor was a conscientious but mistrustful ruler whose administrative policies greatly influenced the government of his son and successor, the Qianlong emperor (r. 1736–1795).

JIN-YA HUANG Interdisciplinary artist and founder of Break Bread, Break Borders “I chose the imperial jade seal from China as my favorite object from the permanent collection because one, my late mother, Margaret Huang, was born in the year of the dragon, so I’m partial to the double dragon carvings on top this national treasure. Also, one of the gifts closest to my heart that she gave me is an exquisite hexagon shaped jade seal carved out in my name. Mom had it custom made when I began my artistic career. This is why the seal is significant to me.

My favorite memory here is my collaboration with the Crow Museum and Make Art with Purpose, as lead artist in the creation of the Wishing Tree at the Crow Museum’s Chinese New Year celebration. It was a privilege to design and create a modern, reusable, beautiful Wishing Tree that year after year, interacts with thousands of visitors of all ages, helping people making wishes in different languages to honor an ancient Asian tradition. Being able to teach our community about bridge building between East and West is one of the most exhilarating experiences in my life. I’ll never forget it.

The Crow museum’s vision statement, “to love and celebrate the arts and cultures of Asia” means the world to me. I’m grateful the Crow finds innovative ways to share love of Asian arts and cultures with people of all backgrounds, and celebrate it with future generations like my son. Circling back to the jade Xi Bao, the word “seal” in Chinese; means “mark” and/or “impression”. I see the Crow make its mark and a positive impression, on just how a museum can bring lasting social impact—I’m humbled to contribute and be a part of this legacy.

A native of Taipei, Taiwan, Jin-Ya Huang arrived in the United States at age 13.

After the initial struggles of being an immigrant, she was inspired to remember her experiences and relate it to her new life. At the intersection of Mother/Artist/ Activist, Huang realized this is the narrative she wanted to address in her work.

Through photography, mixed media and written words, she projects kindness to make a difference. Huang is the founding director of Break Bread, Break Borders (BBBB), an organization of social entrepreneurship using an incubator kitchen to connect refugee cooks with professional mentors for economic empowerment. She has produced projects in partnership with the Crow Museum of Asian Art, the Fort Worth Modern, Make Art with Purpose, EMC Arts, International Rescue Committee, Human Rights Initiative, Dallas Festival of Ideas, Café Momentum, MIX Kitchen, Big Thought, Fossil Group and Participant Media. She has taught in high schools and universities in DFW area. Huang was named a social entrepreneur at Southern Methodist University Hunt Institute’s 2018 Economic Inclusion Consortium. She’s a fellow at The OpEd Project, DISD Multicultural Social Studies and History Curriculum Advisory Council, Welcoming Communities of Immigrant Affairs Committee and she’s on the Board of Metropolitan Arts Media.

2010 Flora Street, Dallas, Texas | crowmuseum.org