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  • Inspired by Dunhuang:
    Re-creation in Contemporary Chinese Art

    December 14, 2013 – June 8, 2014

    Yu Hong (b. 1966)
    Questions for Heaven, 2010
    Acrylic on canvas
    197 ⅞ x 236 ¼ inches (500 x 600 cm)
    Like the old masters before them, modern and contemporary luminaries, such as Zhang Daqian, Zhang Hongtu, Liu Jude, Liu Dan, Yu Hong, and others, have sought inspiration from Dunhuang’s ancient sculptures and murals. Inspired by Dunhuang presents the breathtaking results of their painstaking creative efforts, works which capture the experience of Dunhuang in ways that are powerfully transformative. With its carefully curated group of paintings, calligraphy, sculptures, photographs, and mixed media installations encompassing a variety of themes and forms, this exhibition is a pioneering exploration of the historical, literary, artistic, and conceptual nature of the inspiration and influence exerted by Dunhuang’s thousand-year-old tradition on contemporary artistic creation.

    This exhibition is organized by China Institute Gallery and curated by Willow Hai Chang, Director of China Institute Gallery, and Jerome Silbergeld, the P. Y. and Kinmay W. Tang Professor of Chinese Art History and Director of the Tang Center for East Asian Art at Princeton University.

    For additional information, please visit the following links:

    This exhibition is made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and by the generous support of the W.L.S. Spencer Foundation and China Institute Friends of the Gallery.


  • Dunhuang:
    Buddhist Art at the Gateway of the Silk Road

    April 19 – October 6, 2013

    Celestial Music, mural from Mogao Cave 288
    Dunhuang, the western gateway to China, is one of the world’s most esteemed art shrines and cultural heritage sites. Dunhuang: Buddhist Art at the Gateway of the Silk Road addresses art and ritual practices of the Northern dynasties (420-589) and the Tang dynasty (618-907). The exhibition features excavated art works, high relief clay figures, wooden sculpture, silk banners, and molded bricks. A group of treasured Buddhist sutras from the famous Cangjingdong (The Library Cave) illustrate the story behind Dunhuang’s historic discovery. Magnificent replicas of a 6th-century central pillar and an 8th-century cave allow visitors to experience the actual cave setting.

    This exhibition is organized by China Institute Gallery and Dunhuang Academy under the direction of Willow Weilan Hai Chang and is curated by Fan Jinshi, Director of Dunhuang Academy.

    For various press coverage, please visit the following links:

    For additional information, please visit the following links:

    This exhibition is organized by China Institute Gallery and Dunhuang Academy under the direction of Willow Weilan Hai Chang and is curated by Fan Jinshi, Director of Dunhuang Academy.

    This exhibition is made possible, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and by the generous support of the Asian Cultural Council, Blakemore Foundation, the E. Rhodes & Leona B. Carpenter Foundation, the Henry Luce Foundation and China Institute Friends of the Gallery.


    New “China”:
    Porcelain Art from Jingdezhen, 1910–2012

    September 21, 2012 – February 17, 2013

    Photo courtesy of Peter Lukic/Mixed Art
    Jingdezhen, situated in the northeastern region of Jiangxi province, is known as the “Porcelain Capital,” and has served as the major source of China trade ceramics for the world for over 1,000 years. Jingdezhen cultivated an enormous industry of specialized and accomplished clay fabricators, glaze painters and kiln firers due to an abundance of raw materials, centuries of clay development and ravenous global demand. Since the Song dynasty, merchants have come from the world over to commission beautiful ceramic ware from the skilled artisans in Jingdezhen. New “China” will allow visitors to explore the authoritative influence of Jingdezhen on ceramic arts during the last 100 years. It will introduce a special group of modern and contemporary artists, who have revitalized Jingdezhen and bolstered the world’s ceramic market through their contemporary ideas and progressive techniques.

    This exhibition is organized by China Institute Gallery, directed by Willow Weilan Hai Chang and co-curated by Lili Fang, Director of the Art Anthropology Research Center of the Chinese National Academy of Arts in Beijing and a leading author on Jingdezhen studies, and Nancy Selvage, former Director of the Ceramics Program at Harvard University.

    For additional information, please visit the following links:

    This exhibition is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and China Institute Friends of the Gallery.

    This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.


    Theater, Life, and the Afterlife: Tomb Décor of the Jin Dynasty from Shanxi
    February 9, 2012 – June 17, 2012



    Brick carving is a traditional folk art that was used to decorate architecture and adorn tombs. Excavations in recent decades have uncovered unique and theatrically-themed brick carvings from the Shanxi province, revealing a passion for theater and opera in this region during the Jin dynasty (1115–1234). The tombs of Shanxi, adorned with beautiful, intricate brick carvings and other décor, illustrate two kinds of popular entertainment: Za Ju, formal performances of written plays and San Qu, performances related to village festivals. An entirely reconstructed tomb will offer visitors a window into the ways ancient art patrons transferred the artistic joys of life into the afterlife. Theater, Life, and the Afterlife: Tomb Décor of the Jin Dynasty from Shanxi, brings to life the intersection of the brick carving and theater traditions.

    Under the direction of Willow Weilan Hai Chang, Director, China Institute Gallery, this original exhibition is curated by Shi Jinming, Director of the Shanxi Museum, China.

    For various press coverage, please visit the following links:

    For additional information, please visit the following links:

    This exhibition is made possible, in part, by the generous support of the Henry Luce Foundation and China Institute Friends of the Gallery.

    Blooming in the Shadows: Unofficial Chinese Art, 1974-1985
    September 15, 2011 – December 12, 2011



    Contemporary Chinese art has taken the art world by storm in the last decade through heralded museum exhibitions, well-read publications, and heavily attended art auctions. However, even with all this attention, few exhibitions have asked the question of how—against the background of thirty-five years of Socialist Realism—this internationally-oriented artwork suddenly appeared and why it captured the attention of the international art market. Blooming in the Shadows: Unofficial Chinese Art, 1974-1985 will introduce the work of three unofficial Chinese art groups who worked in this vein: the No Names, the Stars, and the Grass Society—all of which arose following the end of the Cultural Revolution and helped launch the avant-garde movement in China. These artists pursued creatively diverse paths to personal artistic freedom under the political circumstances of the time. Blooming in the Shadows will examine this work produced in the critical decade after the end of the Cultural Revolution leading up the Communist party’s 1985 decision to allow modern artistic practices.

    This is an original exhibition organized by China Institute Gallery. It is directed by Willow Hai Chang, Director of China Institute Gallery, and co-curated by Kuiyi Shen, Director of the Chinese Studies Program and Professor of Asian Art History, Theory, and Criticism, at the University of California San Diego, and Julia Andrews, Professor of Art History at Ohio State University and a specialist in Chinese painting and modern Chinese art.

    For various press coverage, please visit the following links:

    • Blooming in the Shadows exhibition review on ArtDaily

    For additional information, please visit the following links:

    This exhibition is made possible, in part, by the generous support of the New York State Council on the Arts (NYSCA) and China Institute Friends of the Gallery.

    Along the Yangzi River: Regional Culture of the Bronze Age from Hunan
    January 27, 2011 – June 12, 2011


    Uncover the mysterious story of the middle bank of the Yangzi River, one of the most significant cradles of Chinese civilization and a historical area for study of Chinese bronze culture. Several important excavations in the past few decades have enabled us to examine the undeveloped aspects of this culture through exquisite bronze vessels from the Hunan Provincial Museum. This exhibition will explore regional culture along the Yangzi River in three parts: the development and characteristics of regional bronzes, their function and patronage, and their cultural connection to Central China.

    This is an original exhibition organized by China Institute Gallery in collaboration with the Hunan Provincial Museum accompanied by a bilingual catalogue published by China Institute Gallery. It is directed by Willow Hai Chang, Director of China Institute Gallery, and co-curated by Chen Jianming, Director of the Hunan Provincial Museum, Jay Xu, Director of Asian Art Museum in San Francisco, and Fu Juliang, Curator of Bronze Collections, Hunan Provincial Museum.

    For various press coverage, please visit the following links:

    For additional information, please visit the following links:

  • Woodcuts in Modern China, 1937-2008: Towards a Universal Pictorial Language
    September 16—December 5, 2010
    Though China has had a long history in woodcuts and printing, the western woodcut, printed with oil-based ink, was adapted in the early 20th century by Chinese artists searching for a simplified pictorial language that would resonate with the illiterate masses. They not only created the beginnings of communist art in China, but laid the foundation of modern Chinese art in the most general sense. While past scholarly publications and survey exhibitions have familiarized wider audiences with aspects of the modern Chinese woodcut movement, this exhibition is the first in the U.S. to present a comprehensive overview of the beginnings and development of this important art form during the modern period of Chinese history from the 1930s to the present.

    Woodcuts in Modern China is organized by the Picker Art Gallery at Colgate University.

    For various press coverage, please visit the following links:

    For additional information, please visit the following links:

    CONFUCIUS: His Life and Legacy in Art
    February 11—June 13, 2010

    Although the arts of Buddhism and Daoism are well known, the study of art forms related to Confucianism is only just beginning. Confucianism, a philosophy based on the teachings of Confucius (551 BCE – 479 BCE), pervades the customs of many Asian cultures from ancient times to the present day, but we are left to wonder, who is Confucius? In this ground-breaking exhibition, intriguing aspects of Confucius and Confucianism are explored through material and visual culture, explaining his teachings and ritual practices. Selected from the Shandong Provincial Museum and the Confucius Museum in Qufu, Shandong, the hometown of Confucius, this group of artworks, including paintings, bronzes, jades, books, costumes, stone carvings, and enamel vessels represent the first exhibition organized in the United States that illuminates Confucius as an historical figure and how he has been venerated for the past 2,000 years. A fully illustrated scholarly catalogue accompanies the exhibition.

    The exhibition is directed by Willow Hai Chang, Director of China Institute Gallery, and co-curated by Lu Wensheng, Director of the Shandong Provincial Museum, and Julia K. Murray, Professor of Art History and East Asian Studies at the University of Wisconsin. 

    For various press coverage, please visit the following links:

    The Gallery Director, Willow Weilan Hai Chang Profile on The New York Times

    Confucius Exhibition Review on The New York Times

    Archeology Magazine

    New York One


    Xinhua (open in Internet Explorer)

    For additional information, please visit the following links:

    Large Print Didactics

    China Institute Gallery Press Release

    Exhibition Related Resources


    This program is supported, in part, by an award from the National Endowment for the Arts and by public funds from the New York State Council on the Arts and the New York City Department of Cultural Affairs, in partnership with the City Council. 


  • Humanism in China: A Contemporary Record of Photography
    September 24– December 13, 2009

    For two years a Chinese curatorial committee, from Guangdong Art Museum (in Guangdong, China), travelled to twenty provinces and viewed an estimated 100,000 photographs by 1000 photographers. Dedicated to presenting a visual truth about China during a period when notions of truth and reality were rapidly and radically changing, the team selected approximately 600 photos by 248 photographers. Thus the first major museum collection of documentary photographs in China, produced by the nation’s own photographers, was assembled.

    Humanism in China: a Contemporary Record of Photography offers a revealing glimpse into rural and urban daily life in China, beyond the glossy veneer of the economic boom. For the debut presentation of this traveling exhibition in America, 100 of these photographs have been selected for their union of social documentation and aesthetic expression. Taken during the years 1951 through 2003, these photographs are of a very high aesthetic order, displaying an extraordinary range of human emotion and activity, urban and rural, public and private. The exhibit is not a study of things or of places, but of people; not famous people but the anonymous and ordinary, engaged in daily life. It presents neither ideological paragons nor moral admonitions but the vitality of a nation, lodged in its diversity. These photographs reflect the radical change the country has gone through in the past half century and break through all the stereotypes of life in China that photography itself has sometimes been used to create.

    Curators: Organized by the Guangdong Museum of Art
    Re-organized for China Institute by Jerome Silbergeld and China Institute Gallery

    Humanism in China is chosen as one of the top ten museum exhibitions for the fall by Time Out New York.

    A link to Wall Street Journal review.

    A link to China Press coverage.

    A link to China Institute Gallery Press Release.

    A link to Exhibition Related Resources.

    Noble Tombs at Mawangdui: Art and Life in the Changsha Kingdom, Third Century BCE to First Century CE
    February 12– June 7, 2009

    Audio Slide Shows »

    In the 1970s, archaeologists in China’s Hunan Province unearthed three tombs dating back to the early Han Dynasty (206 BCE – 24 CE) containing the remains and possessions of the Marquis of the Changsha Kingdom and his family. Over 3,000 cultural relics reflecting the opulent life of this noble family were recovered from the site. Noble Tombs at Mawangdui: Art and Life in the Changsha Kingdom, Third Century BCE to First Century CE presents 68 treasures including silk costumes, wood carvings, bronze objects, lacquer ware, jade ornaments, and seals, as well as sections of the Yang Sheng Fang manuscript, a medical text that outlines various techniques of enhancing vitality and lengthening life. These artworks, portraying aspects of daily life ranging from food to cosmetics and fashion, from entertainment to healthcare and exercise, provide a fascinating picture of reverence to the afterlife imparted by the ancients more than 2,000 years ago. Noble Tombs at Mawangdui represents the most extensive collection of Mawangdui items ever on view in the United States. A fully-illustrated bilingual catalogue accompanies the exhibition.

    Curator: Chen Jianming

    A link to China Institute Gallery Press Release.

    A link to  Exhibition Related Resources.

    Below are links to various press coverage.

    New York Times

    Archaeology Magazine

    China Press

    Xinhua News Agency

    Xinhua News Agency: Video Clip (open in Internet Explorer)

  • The Last Emperor’s Collection: Masterpieces of Painting and Calligraphy from the Liaoning Provincial Museum
    September 25 – December 14, 2008

    Painting and calligraphy, China’s most revered art forms, were collected by its emperors from at least the fifth century AD. These two art forms have been a treasured part of the imperial collection throughout Chinese history and a particular passion of several emperors in different time periods. In the early twentieth century, China’s last emperor, Pu Yi, sold off and dispersed countless palace treasures. Since 1949, however, the Liaoning Provincial Museum has successfully reassembled a large part of that collection, ranging from the earliest masterworks of painting and calligraphy created in the Eastern Jin dynasty (317–420) to works from the Qing dynasty (1644–1911). The Museum’s holdings in this area, formed mainly from the imperial collection, have made it one of the top-ranked museums in China after the Palace Museum in Beijing. This project provides an extraordinary opportunity to bring these world-renowned treasures to the United States for the first time in a single exhibition, offering a rare chance to introduce the famed collection of the Liaoning Provincial Museum to the American public.

    This exhibition includes 24 works of Ming (1368 – 1644) and Qing dynasty (1644 – 1911) calligraphy and painting, all from the former imperial collection. Using these select masterpieces as a focus, this exhibition introduces an understudied topic in Chinese art: the history of imperial collecting. The exhibition looks at the impact of imperial collecting on the contemporary art world and society, specifically looking at those emperors who were noted as passionate collectors. In addition, the exhibition gives insight into the imperial collection management system and illustrates critical standards used in the appreciation and recording of the works at that time.

    Curators: Willow Weilan Hai Chang, Yang Renkai and David Ake Sensabaugh

    A link to New York Times review.

    A link to China Institute Gallery Press Release.

    A link to Exhibition Related Resources.

    Beijing 2008: A Photographic Journey
    June 12 – August 18, 2008

    From the 15th century Forbidden City to the new titanium egg-shaped National Opera House, Beijing offers visitors some of the world’s most stunning architectural views. The exhibition at China Institute Gallery, Beijing 2008: A Photographic Journey, offers an architectural overview of this world famous city – the political, educational and cultural center of China.

    Timed to coincide with the 2008 Summer Olympics in Beijing, the exhibition presents 60 photographs including contemporary images by 20 Chinese photographers from the Beijing City Photographers Association. Beijing 2008: A Photographic Journey includes images of buildings by some of the most important architects working today — the CCTV headquarters by Rem Koolhaas, the National Stadium (also called the Bird’s Nest) by Herzog & de Meuron and Terminal 3 at the Beijing Capital International Airport conceived by Norman Foster. Providing historical context for some locations, photographs dating from the 1930s are exhibited beside the contemporary scenes.

    Organized by China Institute Gallery and the Beijing City Archive Bureau.

    Enchanted Stories: Chinese Shadow Theater in Shaanxi
    January 31 – May 11, 2008


    As the first shadow puppet exhibition from China to be presented in the United States, this exhibition presents rare shadow puppets dating to the Qing dynasty (1644- 1911). Drawn from the rich collection of the Shaanxi Provincial Art Gallery, approximately 90 translucent and dramatically colored puppets made of animal hide are presented thematically through famous Chinese legends and characters such as A Journey to the West, Madam White Snake, and The Twice-Visited Netherworld.  Perfectly preserved, the two-dimensional shadow puppets with moving parts are illuminated through the use of a light box to show off the distinctive style and technical mastery of the late Qing dynasty craftsmen of central China. As one of the most beloved forms of folk entertainment in China, the puppets and their fascinating stories explore the history and life of the Chinese throughout the centuries.
    Curators: Chen Shanqiao, Li Hongjun and Zhao Nong. Organized by the China Institute Gallery in collaboration with the Shaanxi Provincial Art Gallery.

  • Buddhist Sculpture from China: Selections from the Xi’an Beilin Museum, Fifth through Ninth Centuries
    September 13 – December 8, 2007 

    As the first true exhibition of Chinese Buddhist Art at China Institute Gallery, this exhibition presents more than seventy magnificent stone sculptures, steles, gilt bronze objects and clay votive tablets spanning from the 5th through 9th centuries.  The Beilin Museum houses one of the world’s most important collections of Buddhist stone sculptures.  Among the artworks, many have only been unearthed through recent archaeological findings within the last 25 years and will be introduced to the West for the first time.  Through tracing four decades of stylistic development that span from the Northern dynasties to the Tang dynasty, this exhibition illuminates important themes in Buddhist art and religion that have never been explored before, paving new paths for scholarship.   

    Curator: Annette L. Juliano

    Tea, Wine and Poetry: Qing Dynasty Literati and their Drinking Vessels
    March 24 – June 16, 2007

    Tea, Wine and Poetry features more than fifty works of ceramics, pewter and other media drawn from various collections.  Collectively these works will introduce the concept of tea culture as a medium for cultural communication, highlighting the esteemed artistic and social environment of the literati and reflect the academic and literary currents from the late Ming to the Qing dynasties.

    Curator: Guo Ruoyu 

    A traveling show organized by the Soong Design Co. 

  • Shu: Reinventing Books in Contemporary Chinese Art
    Part I: September 28 – November 11, 2006
    Part II: December 13 – February 24, 2007

    The book—as subject, inspiration, or artistic medium—lies behind some of the best known works of the Chinese avant-garde. Since the 1980’s avant-garde Chinese artists have undertaken many book related projects.  The high frequency and impressive creativity of such projects demonstrate the important roles that “books” have played as sources of artistic imagination and visual vocabulary in contemporary Chinese art.  More than 30 works by 22 prominent Chinese artists are presented, illuminating complex relations with tradition as well as a surprising diversity of artistic approach. This exhibition is the first serious examination of the influence books have had in contemporary Chinese art and demonstrates how contemporary Chinese artists have conducted artistic experiments to engage both China’s cultural heritage and contemporary concerns.


    Exhibited according to three themes, the first section “Reimagining Tradition” includes works which derive visual elements from traditional Chinese books and painting/calligraphy albums.  The second section, “Negotiating History and Memory”, is more closely connected to the historical experiences of contemporary Chinese artists and will examine the roles that books have played in education, globalization, and politics.  The third section, “Displaying Books” consists of a few works which reflect on how books are “displayed” in public and private spaces.

    Curator: Wu Hung

    The Beauty of Chinese Gardens
    June 28 – August 12, 2006

    This exhibition showcases 38 photographs of classical gardens found in the Suzhou and Shanghai regions of China. Taken by David Engel in the 1980s, these black-and-white photographs capture the most unique architectural and aesthetic elements of private gardens in the lower Yangzi region. Based upon a tradition which spans over four centuries, these gardens embody a distinctive Chinese philosophy which emphasizes harmony between nature and humans. The serene and beautiful photographs allow visitors a striking glimpse into how man-made architecture can be ingeniously fused with the natural environment.

    Organized by China Institute Gallery

    Trade Taste and Transformation: Jingdezhen Porcelain for Japan , 1620 – 1645
    February 2 – June 10, 2006



    While the official, court-controlled kilns of Jingdezhen produced imperial products, many civilian kilns produced large quantities of ceramics for the overseas market.  In the final decades of the Ming dynasty, the potters of Jingdezhen, known as the Chinese Capital of Ceramics, produced a blue-and-white porcelain, kosometsuke, and an underglaze-blue and polychrome porcelain ware, ko’akae, for the Japanese market, particularly for use in the popular tea ceremony. Chinese decorative themes and manufacturing standards were transformed to accommodate traditional Japanese forms and aesthetics.  This exhibition showcases examples of this export porcelain from international and domestic collections and explores the relationship of tea culture and trade patterns between China and Japan.

    Curator: Julia B. Curtis

  • Masterpieces of Chinese Lacquer from the Mike Healy Collection
    September 16 – December 3, 2005

    The Han dynasty experienced an exciting surge in the production of lacquer objects and vessels both for use in the home and court as well as for burial. Works that demonstrate the highest quality of production range from the Han (205 BC – 220 AD) through the Ming dynasty (1368-1644).  This exhibition will present lacquer, one of the great decorative art traditions of China, in a chronological format that will focus on the varied types of lacquer produced between the periods of the 2nd through the 17th centuries. Lacquer was an important art form in ancient China, invented during the Neolithic period (the earliest evidence dated around 6000 years ago).   Often made of wood, or layered fabrics that form the body of the objects and then later coated with lacquer paints, lacquer products efficiently prevent the wood from rotting due to damp weather, or high heat.  Lacquer was easily decorated with various paints colors, and could also be carved, or inlaid with precious stones, shell, gold or silver. Technique was highly influenced by neighboring countries, especially Japan.

    This exhibition presents rare, infrequently seen lacquer objects in a chronological format that focuses on the varied types of lacquer produced between the periods of the 2nd through the 17th centuries. Works that demonstrate the highest quality of production range from the Han (205 BCE-220 CE) through the Ming dynasty (1368-1644) and reveal the customs and aesthetics of the time.

    Curator: Julia M. White

    Organized by Honolulu Academy of Arts

    Providing for the Afterlife: "Brilliant Artifacts" from Shandong
    February 3 – June 4, 2005

    Shandong has long been recognized as one of the great centers of Han dynasty art and is the source of some of the most intriguing and important recent archaeological finds.  This exhibition provides much-needed insight and exposure to the important role of Shandong Province in the cultural history of China, as well as the fascinating faith and afterlife settings in ancient Chinese tombs.  Selected art treasures from Western Han imperial tombs in bronze, ceramic, gold and jade are seen for the first time in the United States.  The exhibition explores the concept of tomb architecture and burial items as an ensemble of “brilliant artifacts” (mingqi) and attempts to place these extraordinary objects in their architectural, ritual, cosmological, religious, and cultural contexts.  There is a companion exhibition of Eastern Han dynasty material held at Princeton Art Museum, also in the spring of 2005, focusing on the Wu Liang Shrines in Shandong.

    Curators: Susan Beningson and Cary Liu

  • The Scholar as Collector: Chinese Art at Yale
    September 23 – December 11, 2004

    This exhibition is a re-visit to the treasures from the Yale Art Gallery’s collection, which was originally featured in the 1982 show “The Communion of Scholars.”  The return to China Institute shows how the collection has grown in the twenty years since the first show.  60 items are featured, including bronze, ceramics, paintings, and furniture.  This exhibition interprets the two worlds of Chinese culture: the realm of ritual and the tomb and the precinct of the scholar-connoisseur.  

    Curator: David Ake Sensabaugh

    Jade and Gold: Imperial Jewelry of the Ming Dynasty From the Nanjing Municipal Museum

    February 12 – June 5, 2004

    Drawn from the prominent collection of the Nanjing Municipal Museum, this exhibition presents over 80 pieces of jewelry from the Ming Dynasty (1368-1644), including hairpins, earrings, head ornaments, crown ornaments, bracelets, and pendants in the media of jade, gold and precious stones. These unearthed objects provide a first hand standard for the dated jewelries in this period. This is the first time these objects have been exhibited overseas.

    An exhibition from the Nanjing Municipal Museum, condensed and reorganized by the China Institute Gallery. 

  • Passion for the Mountains: 17th Century Landscape Paintings from the Nanjing Museum
    September 18 – December 20, 2003

    In the seventeenth century, the city of Nanjing, known in ancient times as Jinling, played an important role in what is seen as the last great florescence of landscape paintings in Chinese art. The region’s physical environment, as well as its complex of social and cultural traditions, had a great role in attracting and shaping the paintings of many of the leading artists that came to visit or live there. As a cultural center at that time, Jinling nurtured a group of masters known as the Eight Masters of Nanjing, whose work reflected the contemporary customs and the literati’s bearing.  The exhibition explores the context of the political climate of the day and the artists’ passionate response to this place and their social milieu. Considered to be the peak period of the literati landscape painting, the Jinling style influenced generations of artists.  For many of the artworks selected from the Nanjing Museum in China it is their first time exhibited overseas.

    Curator: Willow Hai Chang

    Weaving China‘s Past: The Amy S. Clague Collection of Chinese Textiles
    January 30 – June 7, 2003

    Similar to painting and calligraphy, textile arts have long been appreciated by fine art collectors and scholars.  This exhibition features the extraordinary private collection of Chinese textiles assembled by Amy Sanders Clague.  With works that range in date from the Song dynasty (960-1279) through the Qing dynasty (1644-1911), this exhibition will explore the various roles of silk textiles.

    Curator: Julia White

    Organized by the Phoenix Art Museum 

  • Blanc de Chine: Divine Images in Porcelain
    September 19 – December 7, 2002

    This exhibition examines the production, uses, international trade and dating of the white porcelain wares produced in Dehua, Fujian Province, which became known as “Blanc-de-Chine” in the West.  Featuring nearly 80 pieces with production dates ranging from the 14th century through the early 20th century, the exhibition includes house wares, devotional figure models and export figures and wares.
    Curator: John Ayers

    Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors
    February 7 – June 2, 2002 

    Curator: Ju-hsi Chou

  • Exquisite Moments: West Lake and Southern Song Art
    September 25 – December 9, 2001

    Curator: Hui-shu Lee

    Living Heritage:
    Vernacular Environment in China

    January 25 – June 10, 2001

    Curator: Kai-Yin Lo

  • The Chinese Painter as Poet
    September 14 – December 10, 2000

     Curator: Jonathan Chaves
    [Catalogue Available]
    Dawn of the Yellow Earth:

    Ancient Chinese Ceramics from the Meiyintang Collection
    March 21 – June 18, 2000

    Curator: Regina Krahl
    [Catalogue Available]

  • The Resonance of the Qin in East Asian Art
    September 17 – December 12, 1999
    Curator: Stephen Addiss
    [Catalog Available]

    A Literati Life in the Twentieth Century: Wang Fangyu-Artist, Scholar, Connoisseur
    February 11-June 2, 1999
    Curator: H. Christopher Luce
    [Catalog Available]

  • Chinese Snuff Bottles from the Pamela R. Lessing Friedman Collection
    September 16 – December 13, 1998
    Organized by the Asian Art Coordinating Council

    Scent of Ink: The Roy and Marilyn Papp Collection of Chinese Art
    February 5 – June 20, 1998
    Curator: Claudia Brown
    Organized by the PhoenixArt Museum

  • Power and Virtue: The Horse in Chinese Art
    September 11 – December 13, 1997
    Curator: Robert E. Harrist, Jr.
    [Catalog Available]

    Adornment for Eternity: Status and Rank in Chinese Ornament
    February 6 – July 14, 1997
    Curators: Julia White And Emma Bunker
    Organized by the DenverArt Museum

  • The Life of a Patron: Zhou Lianggong (1612-1672) and the Painters of Seventeenth-Century China
    October 23 – December 21, 1996
    Curator: Hongnam Kim
    [Catalog Available]

    Hare’s Fur, Tortoiseshell and Partridge Feathers Chinese Brown- and Black-Glazed Ceramics, 400-1400
    April 20 – July 6, 1996
    Curator: Robert Mowry
    Organized by the Harvard University Art Museum, Massachusetts

    Calligraphy as Living Art: Selections from the Jill Sackler Chinese Calligraphy Competition
    February 3 – March 9, 1996
    Curator: Willow Weilan Hai, in conjunction with the A. M. Sackler Foundation, Washington, D.C.

  • Abstraction and Expression in Chinese Calligraphy
    China Institute Gallery: October 14 – December 21, 1995
    Seattle Art Museum, WA

    Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars’ Motifs and Narratives
    April 22 – August 5, 1995
    Curator: Julia B. Curtis
    [Catalog Available]

    Animals of the Chinese Zodiac: Celebrating Chinese New Year
    January 20 – March 4, 1995
    Curator: Willow Weilan Hai

  • At the Dragon Court: Chinese Embroidered Mandarin Squares from the Schuyler V.R. Cammann Collection
    October 20 – December 22, 1994
    Curator: John Finlay

    Capturing a World: China and Its People – Photography by John Thomson
    March 26 – June 11, 1994
    Organized by the British Council, catalogue by the British Council

    Sending Away the Old, Welcoming the New
    February 5 – March 5, 1994
    Curator: Karen Kane

    As You Wish: Symbol and Meaning on Chinese Porcelains From the Taft Museum
    October 23 – January 15, 1994
    Curator: David T. Johnson

  • Discarding the Brush: Gao Qipei, 1660-1734
    April 17 – June 12, 1993
    Curator: Klass Ruitenbeek
    Organized by the Rijksmuseum Amsterdam

    A Year of Good Fortune – 1993: Legends of the Rooster and Traditions of the Chinese New Year
    January 19 – March 6, 1993
    Curator: Willow Weilan Hai

  • Word as Image: The Art of Chinese Seal Engraving
    October 21 – December 12, 1992
    Curator: Jason C. Kuo

    Lamas, Princes and Brigands: Photographs by Joseph Rock of the Tibetan Borderlands of China
    April 15 – July 31, 1992
    Curator: Michael Aris

    Treasures of the Last Emperor: Selections from the Palace Museum, Beijing
    February 1 – March 7, 1992
    Curator: Lawrence Wu

  • Early Chinese Ceramics from New York State Museums
    October 19 – December 14, 1991
    Curator: Martie W. Young

    Ancient Chinese Bronze Art: Casting the Precious Sacral Vessel
    April 20 – June 15, 1991
    Curator: W. Thomas Chase

    1991 New Year Exhibition: Children in Chinese Art
    January 26 – March 2, 1991
    Organized under the auspices of the China Institute Women’s Association

  • The Eccentric Painters of Yangzhou
    October 20 – December 15, 1990
    Curator: Vito Giacalone

    Clear as Crystal, Red as Flame: Later Chinese Glass
    April 21 – June 16, 1990
    Curator: Claudia Brown and Donald Robiner

    1990 New Year Exhibition: The Chinese Earth – Views of Nature
    January – March 1990
    Curator: Anita Christy

  • Views from Jade Terrace: Chinese Women Artists, 1300-1912
    October 5 – December 2, 1989
    Organized by Indianapolis Museum of Art

    China Between Revolutions: Photography by Sidney D. Gamble, 1917-1927
    June 29 – September 9, 1989
    Curator: The Sidney D. Gamble Foundation for China Studies and China Institute in America

    Mind Landscapes: The Paintings of C.C. Wang
    April 3 – May 27, 1989
    Curator: Jerome Silbergeld

    1989 New Year Exhibition: Lanterns
    January 28 – February 25, 1989

  • Stories from China’s Past
    September 17 – November 12, 1988
    Organized by The Chinese Culture Center of San Francisco

    Ritual and Power: Jades of Ancient China
    April 23 – June 19, 1988
    Curator: Elizabeth Childs-Johnson

    1988 New Year Exhibition
    February 4 – February 24, 1988

  • Richly Woven Traditions: Costumes of the Miao of Southwest China and Beyond
    October 22, 1987 – January 4, 1988
    Curator: Theresa Reilly
    [Catalog Available]

    Folk Art
    April 4 – May 30, 1987
    Curator: Nancy Zeng Berliner

  • 1987 New Year Exhibition
    Selections of Chinese Art from Private Collections

    October 18, 1986 – January 4, 1987
    Exhibition celebrating the 60th Anniversary of China Institute and the 20th Anniversary of China Institute Gallery, organized by James C.Y. Watt and Annette L. Juliano.
    [Catalog Available]

    Puppetry of China
    April 19 – June 29, 1986
    Curator: Roberta Helmer Stalberg
    Organized by the Center for Puppetry Arts, Atlanta

    Kernels of Energy, Bones of Earth: The Rock in Chinese Art
    October 26, 1985 – January 26, 1986
    Curator: John Hay

  • The Sumptuous Basket: Chinese Lacquer with Basketry Panels
    March 20- June 3, 1985
    Curator: James C.Y. Watt
    [Catalog Available]

    Chinese Rare Books in American Collections
    October 20, 1984 – January 29, 1985
    Curator: Soren Edgren

    Chinese Traditional Architecture
    April 6 – June 10, 1984
    Allegheny College, Meadeville, Pa, March 28 – April 19, 1985
    Marlboro College, Marlboro, Vt, September 11 – October 31, 1985
    State University of New York, Binghamton, January 7 – February 27, 1986

    Curator: Nancy Shatzman Steinhardt
    A permanent traveling exhibition of China Institute.

  • Masterpieces of Chinese Export Porcelain and Related Decorative Arts from the Mottahedeh Collection
    February 10 – March 7, 1984
    U.S.- China 200 Bicentennial Exhibition, organized by Anita Christy

    Chinese Ceramics of the Transitional Period: 1620-1683
    October 21, 1983 – January 29, 1984
    Kimbell Art Museum, Fort Worth, May 26 – August 26, 1984

    Curator: Stephen Little
    [Catalog Available]

  • Bamboo Carving of China
    March 18 – May 29, 1983
    Nelson-Atkins Museum of Art, Kansas City, July 24 – September 11
    Asian Art Museum of San Francisco, October 3, 1983 – January 15, 1984
    Curators: Wang Shixiang And Wan-Go H.C. Weng

  • China from Within
    November 4 – December 12, 1982
    A Smithsonian Institution Traveling Services Exhibition, organized by the International Photography Society in cooperation with The China Exhibition Agency, Beijing, and the Chinese Embassy, Washington, DC

    The Communion of Scholars: Chinese Art at Yale
    March 20 – May 30, 1982
    Museum of Fine Arts, Houston, June 22 – August 22, 1982
    Yale Art Gallery, New Haven, October 5, 1982 – April 17

    Curator: Mary Gardner Neill
    [Catalog Available]

  • Masterpieces of Sung and Yuan Dynasty Calligraphy from the John M. Crawford Jr. Collection
    October 21, 1981 – January 31, 1982
    Spencer Museum, University Of Kansas, March 14 – April 18, 1982
    Curator: Kwan S. Wong, Assisted By Stephen Addiss

    The Art of Chinese Knotting
    July 29 – September 21, 1981
    Curator: Hsia-Sheng Chen

    Freedom of Clay and Brush through Seven Centuries in Northern China: Tz’u-Chou Type Wares 960-1600 C.E.
    March 16 – May 24, 1981
    Curator: Yutaka Mino
    Exhibition organized by the Indianapolis Museum of Art.

  • Chinese Porcelains in European Mounts
    October 22, 1980 – January 25, 1981
    Curator: Sir Francis Watson
    [Catalog Available]

  • Chinese Art from the Newark Museum
    March 19 – May 25, 1980
    Curators: Valrae Reynolds and Yen Fen Pei

  • Treasures from the Metropolitan Museum of Art
    October 25 – November 25, 1979
    Curator: Clarence F. Shangraw
    [Catalog Available]

    Art of the Han
    March 14 – May 27, 1979
    Curator: Ezekiel Schloss

  • Origins of Chinese Ceramics
    October 25, 1978 – January 28, 1979
    Curator: Clarence F. Shangraw

    Embroidery of Imperial China
    March 17 – May 28, 1978
    Curator: Jean Mailey

    I-Hsing Ware
    October 28, 1977 – January 29, 1978
    Nelson Gallery of Art, Kansas City, February 19 – May 21, 1978
    Asian Art Museum of San Francisco, June 16 – September 21, 1978

    Curator: Terese Tse Bartholomew

  • Early Chinese Miniatures
    March 16 – May 29, 1977
    Curator: Dr. Paul Singer
    [Catalog Available]

  • Chinese Folk Art in American Collections: Early 15th through 20th Centuries
    October 27, 1976 – January 30, 1977
    Curator: Tseng Yu-Ho Ecke
    [Catalog Available]

    China’s Influence on American Culture in the 18th and 19th Centuries
    April 8 – June 13, 1976
    Seattle Art Museum, October 7 – November 28, 1976
    Curators: Henry Trubner and William Jay Rathburn

  • Art of the Six Dynasties: Centuries of Change and Innovation
    October 29, 1975 – February 1, 1976
    Curator: Annette L. Juliano

    Ancient Chinese Jades from the Buffalo Museum of Science
    April 3 – June 15, 1975
    Curator: Joan M. Hartman

  • Friends of Wen Cheng-Ming: A View from the Crawford Collection
    October 24, 1974 – January 26, 1975
    Curators: Marc F. Wilson and Kwan S. Wong

    Tantric Buddhist Art
    March 14 – May 24, 1974
    Curator: Eleanor Olson

  • China Trade Porcelain: A Study in Double Reflections
    October 25, 1973 – January 27, 1974
    Curator: Claire Le Corbeiller

    Ceramics in the Liao Dynasty: North and South of the Great Wall
    March 15 – May 28, 1973
    Curator: Yutaka Mino

  • Wintry Forests, Old Trees: Some Landscape Themes in Chinese Painting
    October 26, 1972 – January 28, 1973
    Curator: Richard Barnhart

    Dragons in Chinese Art
    March 23 – May 28, 1972
    Curator: Hugo Munsterberg

  • Early Chinese Gold and Silver
    October 21, 1971 – January 30, 1972
    Curator: Dr. Paul Singer

    Chinese Silk Tapestry: K’o-Ssu
    March 24 – May 27, 1971
    Curator: Jean Mailey

  • Ming Porcelains: A Retrospective
    October 29, 1970 – January 31, 1971
    Curator: Suzanne G. Valenstein

    Album Leaves from the Sung and Yuan Dynasties
    March 26 – May 30, 1970
    Curator: C.C. Wang

  • Chinese Painted Enamels
    October 23, 1969 – February 1, 1970
    Curator: J.A. Lloyd Hyde

  • Foreigners in Ancient Chinese Art
    March 27 – May 25, 1969
    Curator: Ezekiel Schloss

  • Chinese Jade through the Centuries
    October 24, 1968 – January 26, 1969
    Curator: Joan M. Hartman

    Gardens in Chinese Art
    March 21 – May 26, 1968
    Curator: Wan-Go H.C. Weng

  • Animals and Birds in Chinese Art
    October 25, 1967 – January 28, 1968
    Curator: Fong Chow

    Art Styles of Ancient Shang
    April 5 – June 11, 1967
    Curator: Jean Young

  • Selections of Chinese Art from Private Collections in the Metropolitan Area
    November 15, 1966 – February 15, 1967
    Curator: Mrs. Gilbert Katz