Exhibition Dates: 9 December 2017 – 10 June 2018
Secrets of the Lacquer Buddha unites the only sixth- and seventh-century, life-size Chinese lacquer buddha sculptures known: one from the Walters Art Museum, one from the Metropolitan Museum of Art, and one from the Freer Gallery of Art. They have never been exhibited together before.
The exhibition explores how the sculptures were made, giving new insights into these deceptively simple objects. It also highlights how science can contribute to understanding art. The Freer|Sackler Department of Conservation and Scientific Research’s experts used specialised equipment and new methods to analyse the sculptures, exposing microscopic details. Find out what tree species the lacquer came from, what type of burnt bone was mixed in, and other unexpected discoveries.
The amount of detailed background information given on the Freer|Sackler website is amazing. The essay by Donna Strahan and Blythe McCarthy on the construction of the buddha sculptures is particularly fascinating.
They discovered that pieces of wood wrapped in textiles which had been dipped in lacquer were used as a support inside some of the buddhas. The fibres from all four sculptures were identified by polarised light microscopy as bast fibres with crystalline nodes. The fibres’ colours further identified them as hemp when examined under polarised light.
A textile dated to between 1272 and 1284 also features in the essay on Lacquer, Relics, and Self-Mummification by Denise Patry Leidy.
For more information visit the website of the Freer|Sackler museum, Washington DC.
Exhibition dates: 24 March – 29 July 2018, Washington DC
With their brilliant designs, ikats are among the most distinct fabrics produced in Central Asia. The name, derived from the Malaysian word for “to tie,” refers to the distinct technique of making these textiles: bundles of threads are painstakingly patterned by repeated binding and dyeing before being woven. In present-day Uzbekistan and the Fergana Valley, the fabric is known as abri (cloud) and the technique as abrbandi (tying clouds), referring to the fluid yet bold motifs in bright colors.
Not surprisingly, ikats caught the attention of contemporary designers, most notably Oscar de la Renta (died 2014). In 2005 de la Renta included ikat designs in his collections, an innovation that was soon followed by other designers in the United States and elsewhere. Since then ikat motifs have become ubiquitous—from couture gowns to jeans and T-shirts, and from carpets and sofa coverings to stationery and wallpapers.
This exhibition brings together about thirty of the finest historical Central Asian ikat hangings and coats from the Freer|Sackler collections, donated by Guido Goldman, as well as seven of Oscar de la Renta’s iconic creations. The aim is to explore the original use and function of these dazzling fabrics and the enduring appeal of their extraordinary designs.
This exhibition runs almost concurrently with Binding the Clouds: The Art of Central Asian Ikat at the Textile Museum, also in Washington DC
For more information visit the website of The Freer/Sackler
Exhibition dates: until 4 September 2016
In Stories of Migration, artists use needle and thread to relate experiences of migration and diaspora. This timely exhibition includes works by forty-four artists, who share personal and universal stories of migration. From historic events that scattered communities across continents to today’s accounts of migrants and refugees adapting to a new homeland.
Invited artists include Hussein Chalayan, Shin-hee Chin, Aino Kajaniemi, Faith Ringgold, Consuelo Jiménez Underwood and William Adjété Wilson.
If you can’t see this exhibition in person, there is a short time-lapse video on the exhibition website, showing artist Consuelo Jiménez Underwood creating her site-specific installation, which recounts her personal experience crossing the US-Mexico border.
For more information, visit the website of the GW Textile Museum, Washington, DC, USA.
Event date: 28 April 2016, 6pm
Textiles have been part of Central Asian identity for hundreds of years, peaking in the nineteenth century with the production of ikats that featured bold, original designs and vibrant colours. In the twentieth century, the Soviet Union came to power, bringing economic change and “modernization” to the region. Join the Textile Museum on 28 April for a lecture by expert Andrew Hale on the influence of revolutionary Russia on Central Asia’s textile and other traditions.
Hale is a collector, curator, and internationally recognised expert in the nomadic textiles and silk-weaving traditions of Central Asia, as well as the author of numerous articles and books on Central Asian art. During his talk, he will pull from his personal archive of over two thousand photographs documenting this region in the nineteenth and early twentieth centuries.
This lecture explores themes from the exhibition ‘Old Patterns, New Order: Socialist Realism in Central Asia’, open until 29 May.
For more information, visit the website of the GW Textile Museum, Washington DC, USA.