Mr. Thomas Murray will share personal insights and cover the central themes his recently published and widely acclaimed book, Textiles of Japan, the Thomas Murray Collection. The collection has recently been acquired by the Minneapolis Art Institute.
From rugged Japanese firemen's ceremonial robes and austere rural work-wear to colorful, delicately-patterned cotton kimonos, this lavishly illustrated volume explores Japan's rich tradition of textiles. Textiles are an eloquent form of cultural expression and of great importance in the daily life of a people, as well as in their rituals and ceremonies. The traditional clothing and fabrics featured in this book were made and used in the islands of the Japanese archipelago between the late 18th and the mid 20th century. The Thomas Murray collection includes daily dress, work-wear, and festival garb and follows the Arts and Crafts philosophy of the Mingei Movement, which saw that modernization would leave behind traditional art forms such as the hand-made textiles used by country people, farmers, and fisherman. This volume explores the range and artistry of the country's tradition of fiber arts and is an essential resource for anyone captivated by the Japanese aesthetic.
Thomas Murray is an independent researcher, collector, lecturer and private dealer of Asian and Tribal art with an emphasis on Indonesian sculpture and textiles, as well as animistic art from other varied cultures. He also features Indian Trade Cloths from the 14th-18th Centuries. A HALI magazine contributing editor for the last 30 years, he serves as their "in-house" expert on all tribal sculpture and textiles, with more than 50 publications. His most recent book, “Textiles of Japan” was met with critical acclaim. Thomas Murray is Past President of ATADA, The Antique Tribal Art Dealers Association and recently served a three-year term as a member of President Obama's Cultural Property Advisory Committee at the State Department. Thomas Murray continues to consult with museums and private clients all over the world.
Paul Binnie will talk about Yoshida Hiroshi and the three main aspects of his career; watercolorist, oil painter and woodblock printmaker. His contribution to the Westernization of Japanese art in his paintings on one hand and the introduction of Japanese art to the West through his prints on the other hand were major factors in the appreciation of Japanese styles and techniques.
Paul Binnie is a Scottish artist, painter and printmaker who also writes and lectures on art history, particularly of Japanese woodblock prints. He trained in Edinburgh, Paris and Tokyo and in the latter was apprenticed to a traditional woodblock printmaker for 6 years. His art has been collected by the Met in New York, the British Museum in London and the Rijksmuseum in Amsterdam among others, and he has published art historical essays in a number of US museum publications.
Join Portland Japanese Garden CEO, Steve Bloom as he explores the many facets of Japanese Gardens. These living works of art are often not understood by many who visit. Steve will talk about how to better understand the subtleties of these gardens, from their spiritual and social purposes and origins, to their practical uses, ranging from a lovely place to visit, to serving as venues for promoting the ideals of culture, craft, wellness, mutual understanding, and the pursuit of global peace. Bloom will discuss the past, present, and future of the Portland Japanese Garden and how it has grown into one the most dynamic global platforms for sharing Japan’s greatest gifts with the world. The Portland Japanese Garden is a traditional Japanese Garden in Portland Oregon. The Garden which was founded in 1963 including 8 garden styles representing 1000 years of design history spread across 12 acres. In 2017 the Garden opened its new $37 Million cultural village designed by renowned architect Kengo Kuma, creating the largest Japanese Cultural Center in the world outside Japan.
Creating the illusion of three dimensions on a two-dimensional surface has historically been a goal of some artists both in Europe and China, but utilizing very different approaches. What were the tricks of the trade used by these artists and how was illusionistic art valued by its audiences? In the early 18th century, a collision of these two traditions occurred, primarily between a supreme connoisseur, the Qianlong Emperor, and an extraordinarily versatile artist, Giuseppe Castiglione, also known as Lang Shining. The marvels in art and architecture that they co-created will be the subject of this lecture. Dr. Elaine Pierce’s childhood was influenced by her Chinese mother, who was fiercely proud of her heritage and always a little wistful about leaving her native Malaysia after World War 2. At the age of 16, Dr. Pierce was sent to spend the summer studying Chinese in Taiwan, but she proceeded to goof off with the other American teenagers unleashed from parental scrutiny and managed to learn no useful language skills. A key experience during the trip was a visit to the spectacular National Palace Museum, which sparked a lifelong love of Chinese art and culture. After practicing emergency medicine and then primary care medicine for many years, followed by a second career in public health, she had the opportunity to return to her first love through the San Diego Museum of Art’s docent training program, which she completed in 2017. She thinks her mom would approve of her current obsession.