Exhibit elevates Shunzhi porcelain works out of obscurity
By Victoria Gail White
"Treasures from an Unknown Reign: Shunzhi Porcelain." Through Sept. 1; Asian Gallery, Honolulu Academy of Arts; 532-8700.
The exquisite porcelain treasures resting on the pedestals covered in soft blue moire are cool and crisp. Their tranquil, predominantly blue and white appearance conceals a volatile heritage.
The transitional period in China between the Ming and the first Qing dynasty, from 1644 to 1661, is known as the Shunzhi reign. To further illustrate the distinction of the Shunzhi porcelains, Ming and Kangxi pieces also are included in the exhibit.
The Shunzhi reign was marked by Manchu invasions, economic crises, the emperor's suicide, the appointment of a 5-year-old boy as sovereign and the boy's death at 22 of smallpox. More recently, the recovery of a cargo junk from the South China Sea has served to combined with these others facts to weave a mysterious tale around this traveling exhibit.
Despite disruptive campaigns of conquest and financial difficulties, despite internal conflicts between kiln workers and their employers, despite a five-month drought and a major flood, the kilns at Jingdezhen in Jiangxi province (where much of the porcelain was produced) did their best to function. Creativity managed to flourish with new shapes, new colors, and a new wucai style of glazing and painting, which emerged from a China in turmoil.
Brushpots, bowls, dishes, jars, vases, rolwagens (a Dutch word for tall cylindrical vases) and jardinieres are decorated with paintings of flowers, trees, birds, insects, animals, water and air elements, human figures, deities, landscapes, mythical beasts, calligraphy, poetry and narrative scenes. The deep blue underglazes and polychrome enamel colors enliven the fine, controlled brush strokes and reveal a sophistication of design and composition that distinguishes Shunzhi porcelain wares.
Dragons, which figure heavily into Chinese iconography, are represented in this exhibit with strength and rareness. The "Rolwagen Decorated With Two Dragons," ascending and descending, is an extraordinary example of the balance of cosmic energies.
Elegant monochromes, which saw a revival during the Shunzhi period, also have been included in the exhibit.
Capt. Michael Hatcher, looking for World War II shipwrecks in the 1980s, came upon the remains of a sunken cargo junk south of Singapore. The junk yielded 23,000 pieces of porcelain in good condition, packed in barrels and boxes and dated 1643. Divers had to push sharks aside to get at the cargo. Four pieces salvaged from the Hatcher cargo are included in this exhibit — the most unusual being the "Pot with Upward-Pointing Spout" also known as a "carriage or piss pot" for relieving oneself during a journey.
Paintings and calligraphy of this period fill the walls with dizzying details. The landscapes of Tao Hong (1610-1640) appear almost photographic in their single-hair brush-stroke detail. Zhang Feng (1628-1669) left court to become a Buddhist monk and did the calligraphied the fan on gold dusted paper on display with erudite concentration.
The Honolulu Academy of Arts is showcasing these treasures in their national debut with two rotations. The first set of porcelains will be on display May 2-June 30, the second July 2-Sept. 1. A beautifully illustrated 252-page color catalog to accompany the exhibit is available at the gift shop.
It won't be an "unknown reign" for long.
"Stampede". Works by Jason Teraoka; bibelot gallery; through June 7;1130 Koko Head Ave., Suite 2; 738-0368.
"Stampede," according to Jason Teraoka's artist statement, is both a "rush of images from memories" and the "emotional sense of time one feels when pressed upon by outside forces." This series, exhibited at bibelot gallery through June 7, comprises wooden sculptural thought bubbles.
Fourteen cloud-like pieces are connected by an underlying open framework with attached screening material. The shapes incorporate graphically carved and painted images. They are suggestive of various musical instruments but can only be played with one's imagination, wit and humor.
"These pieces are subconscious," Teraoka says. "They represent how individuals walk around and only see the surface. There's so much going on in the inner and outer reality."
The graphic carved drawings were included as a dialogue for the painted images that emerged subconsciously. Initially, Teraoka wanted to do a series about growing up on Kaua'i. However, the memories mixed with dream images and in the process of exploration and creation, they evolved beyond his initial inspiration.
"Stampede," the title-cover piece, evolved from a boy riding a hobby horse to an adult riding a hobby horse, with all the significance that image portrays in contemporary society.
The series plays with the concept of disguises, truths, cultural attachments and personal experiences. Humans morph into animal bodies with animal masks as in "Songbird," a Bosch-like painting accompanied by a carved circular snake about to eat its own tail.
"I am playing with the issue of being part something else all of the time," says Teraoka. "Some of the images are very difficult to describe. 'Blink' is the most accessible. I got the full image while driving in my car. In the blink of an eye, a boy at one corner became an old man on the next. The passage of time happens that quickly."
"No-Look Love Song." Ryan Masaaki Higa; workspace gallery; through June 8; 3624 Wai'alae Ave., Suite 201; 732-2300.
Ryan Higa is a man who is not afraid to use pink. In fact, it's one of his favorite colors. He knows it is a feminine color with cultural stigmas attached but he isn't worried about that. Why should he be? He uses the color pink and simplistic cartoons to communicate complicated human experiences. He is beyond color chauvinism.
For the "No-Look Love Song" exhibit, Higa monoprinted various shades of flat pink ink on paper and used black acrylic ink for the drawings. They are unframed. Each of the 48 cartoon-like drawings in the show illustrates a lyric from a love song written by Higa.
To begin the series, an empty pink shirt, pants, socks and mask hang on the wall — preceding the drawings, to make the characters (who all wear this outfit) more viewer-friendly.
"I got really interested in Buddhism a few years ago," says Higa. "The teaching revolves around simplicity, not relying on heavy dogma, and a more personal journey." He believes that fewer visuals with simple cartoon imagery are more accessible.
"People think it will be funny because it is a cartoon," says Higa. "They might be more open to the piece. Sometimes, if things are too dense that can be a barrier." Painters such as Warhol and Lichtenstein also understood this concept.
"Masking need" addresses the "frustration and absurdity of two people listening to each other and waiting for the other to say something," says Higa. It is an absurd comment on communication.
The entry may be easy, but the exit is more complicated. This is not high art, it is high heart.
Higa will be teaching a Japanese woodcut workshop at Honolulu Printmakers July 7-Aug. 11. Information: 536-5507.
Art notes
The annual Hawai'i Craftsmen's weekend Raku Ho'olaule'a, with camping and beachside raku firings at Kualoa Regional Park, will take place May 31-June 2. This will be preceded by a free public slide lecture on May 27 at the Honolulu Academy of Arts and a wet-clay demonstration and potluck on May 28 at Windward Community College. The guest artist and juror for the exhibition of works fired at the park (which will be displayed at the ARTS at Marks Garage) will be Emma Luna. Her most recent works can be seen at www.gizmophile.com. Click on Emma Luna gallery. For more information about Raku Ho'olaule'a and related events, contact Ellen Kevis at: 239-5419 or e-mail bolarpear@aol.com.
Docent training: 'Iolani Palace, Friends of the Judiciary Center and the Missions Houses Museum will hold a docent-training seminar, "From Ka'ahumanu to Lili'uokalanai: A History of 19th Century Hawai'i," meeting 9 a.m.-1 p.m. Mondays and Wednesday June 17-Aug. 21. Cost is $125 and includes membership in all three museums and the opportunity to become a volunteer tour guide.
Downtown Gallery Hop: The nine downtown galleries in the Downtown Art and Culture District are hosting monthly "Downtown Gallery Hop" events 11 a.m.-4 p.m. on the fourth Saturday of each month, with changing exhibits, artist receptions, poetry slams and music jams. The next event is Saturday. Information: 566-6644.
