Asian Art Museum of San Francisco Part 2 / Everything not Japan
I only really managed to zip through the rest of the Asian Art Musuem of San Francisco’s collections, I was running out of memory in the camera, so I could only shoot some of what I saw. The one thing not in this post or in the Flickr set that I really dug was the insanely large jade objects collection. I had no way to either spend personal time with it or to document it for later, but it demands a re-visit, and I’ll be putting aside a few hours for a return visit next time I’m in the Bay Area.
Also seen but not photographed was the insane number of Buddhist and Hindu religious sculptures. The sheer number was totally overwhelming, and felt a bit hodge-podge. I tend not to be particularily interested in that school of imagery, as it reminds me of hipsters and “lost adult” seekers. Sometimes I get into an object because of the craft or the narrative, but it’s really not my cup of tea.
Lastly, there’s a really beautiful collection of Central Asian and Persian ceramics that also deserves a re-visit. I spent as much time as I could there, but I really wanted to take about 20-30 reference photographs. Text and geometric designs - two of my favourite things, and in Arabic, possibly the world’s most elegant looking language. Note to self - buy 4 GB memory card and get it over with.
On to the pictures.
Above: China
The museum’s collection of Chinese artifacts is awesome. As noted above, I didn’t have the memory or the time to shoot the jade room, but I’ll be back for that. The two objects above stuck out dramatically from the rest of the collection. The spherical container dosen’t resemble anything that I know of in Chinese art, and seemed totally unrelated to anything in the room with it. It looked more like an ornate space capsule than anything else - now I’m on a quest to learn more about it. The bamboo undershirt was, according to its label, used to prevent sweat stains from damaging silk garments in hot climates. I cannot imagine wearing such a thing, even less making one, but it’s beautiful and revealing.
Above: Persia
I fell in love with the novel design on the above teapot - that’s it. I wonder how well the spout works mechanically, though. Regardless, I’d steal the design if I were making a teapot of my own.
Above: India
The coolest thing about the helmet is that it was designed for a Sikh, and is shaped to accomodate the wearer’s topknot. Read the musuem label here if you like. The katar (punch dagger) is a great example of an unusual weapon. The design is native to India and is not known elsewhere in the world.
Above: Thailand
I dig crazy hats. I’m really fond of headgear that incorporates antlers or animal horns. The above headdress, designed to portray a magical demon deer in the Ramayama, kicks ass. Why people don’t wear stuff like this all the time is totally beyond me. More info on the label, including a short synopsis of the drama it would be worn in.
Above: Malaysia
The msueum has a suprisingly large collection of Kris daggers. The Kris dagger is an interesting weapon, as it combines a great deal of ritual, national identity and superstition with weapon that is best used against an unarmed opponent at close range. In other words, it’s a weapon for killing, not for fighting. They vary widely in design, and the sheaths are as distintive as the blades themselves.
Above: Tibet
Once again, I didn’t have anywhere enough memory to take a lot of pictures, but I had to get a shot of the above collection. The ritual dagger, a largely blunt ceremonial object, and the accompanying ewer (pitcher) made from a human skull. I learned a long time ago that I approve of any culture that makes effective use of the skull as a decorative object or as a practical one. There’s a reasonably readable shot of the museum label, with lots of info on the dagger.
Above: Karkhana: A Contemporary Collaboration
Six Pakistani artists, making works in the style of a Karkhana, a traditional gathering of artists of varying skills to collaborate on pieces. I got really into this show - I liked the work and I’ve been reading a lot about Pakistan lately. Ghost Wars, Steve Coll’s definitive text on the CIA in Afghanistan prior to September 11 goes into great detail on the politics of Pakistan, especially the military and intelligence politics of the nation. That, and other reading, have made the idea of instability in Pakistan scare the crap out of me, and I think the artists in the show craft their works with a deeper awareness of the restrained chaos of their homeland.
I really dug the two pieces above. I’m fond of diagrams of any sort, so the jet piece spoke to me on a visual level. The idea of a jet fighter as a toy, also struck me as representative of the military priorities of the region and the lack of responsiblity that Pakistan has taken regarding international security. The Saira Wasim piece, Friendship After 9/11, portrays an embracing Bush and Musharaff, both leaders who probably have no business being on the world stage, but whom a great deal of human destiny resides in.
