Japão Deco : Criando Arte e Cultura, 1920-1945

Sexta-feira, março 16 - domingo 10 de junho
Japan Society - New York

Enomoto Chikatoshi (1898–1973), Young Woman Adjusting Her Skis. Two-panel folding screen; ink, powdered shell, silver, and colors on paper, late 1930s. 170.8 x 170.2 cm (67¼ x 67 in.). Photograph courtesy of The Levenson Collection.

Divulgar o artesanato espectacular e design sofisticado, associado com o Japão e estilo Art Deco, esta exposição é o primeiro de os EUA para explorar uma marca pouco conhecida de pré-Segunda Guerra Mundial modernismo cargo de ingenuidade competitiva e cosmopolitismo vivaz.

Showcasing the spectacular craftsmanship and sophisticated design associated with both Japan and Art Deco style, this exhibition is the first in the U.S. to explore a little-known brand of pre-WWII modernism borne of competitive ingenuity and vivacious cosmopolitanism.

Hayashi Bunshū (born 1895), with Gyōzan, Shōsai, and Mikizō (dates unknown), Box with Celestial Horse Ascending to the Sky. Lacquered wood with silver and gold inlay, 1937. 33 x 25.4 x 12.7 cm (13 x 10 x 5 in.). Photograph courtesy of The Levenson Collection.

Com curadoria de Dr. Kendall Brown, Deco Japão: Arte e Cultura Shaping, 1920-1945 sutilmente transmite as tensões sociais complexas e cultural no Japão durante os períodos de Taisho e início de Showa por meio de exemplos dramaticamente desenhadas de metal, cerâmica, laca, vidro, móveis, escultura, jóias e ephemera evocativa, como partituras, cartazes, postais, gravuras e fotografia.

Curated by Dr. Kendall Brown, Deco Japan: Shaping Art and Culture, 1920-1945 subtly conveys the complex social and cultural tensions in Japan during the Taisho and early Showa periods through dramatically designed examples of metalwork, ceramics, lacquer, glass, furniture, jewelry, sculpture and evocative ephemera such as sheet music, posters, postcards, prints and photography.

Artist Unknown. Kimono with Abstract Fan Design. Printed silk, 1930s. 151.8 x 130.2 x 50.8 cm (59¾ x 51¼ x 20 [sleeve] in.). Photograph courtesy of The Levenson Collection.

A vitalidade da época é ainda expressa através do tema da moga ("menina moderna") - um emblema da elegância urbana contemporânea que brevemente florido, juntamente com o estilo Art Deco, nos anos de 1920 e 30.

The vitality of the era is further expressed through the theme of the moga ("modern girl")--an emblem of contemporary urban chic that flowered briefly, along with the Art Deco style, in the 1920s and '30s.

Andō Jūbei Company. Vase with Geometric Pattern. Enameled copper, 1930s. 28 x 25.4 cm (11 x 10 in.). Photograph courtesy of The Levenson Collection.

Deco Japão: Criando Arte e Cultura, 1920-1945 é retirado da Colecção Levenson e é organizado e divulgado pelo art Services International, Alexandria, Virginia.

Deco Japan: Shaping Art and Culture, 1920-1945 is drawn from The Levenson Collection and is organized and circulated by Art Services International, Alexandria, Virginia.

Yamazaki Kakutarō (1899–1984). Pair of Vases with Design of Leaping Hares. Lacquered wood, about 1939–42. 26 x 19 cm (10¼ x 7½ in.). Photograph courtesy of The Levenson Collection.

Hiramatsu Kōshun (1896–1971) Bull. Cast bronze, about 1930–43. 18 x 9.6 x 35.5 cm (7¼ x 37/8 x 14 in.). Photograph courtesy of The Levenson Collection.

Artist Unknown; Publishers: Columbia Records and Shōchiku Kinema Gakufu Shuppansha Bungei kouta: Meibōka (Literary Song, The Trouble with Bright Eyes), from series Shōchiku hāmonika gakufu (Shōchiku Sheet Music for Harmonica). Songbook cover; color lithograph, inks on paper, 1929. 26.4 x 18.9 cm (10 3/8 x 77/16 in.). Photograph courtesy of The Levenson Collection.

Artist Unknown. Under-kimono with Sheet-music Design. Printed silk, about 1930. 132.1 x 128.9 x 46.4 cm (52 x 50 ¾ x 18¼ [sleeve] in.). Photograph courtesy of The Levenson Collection.

Nakamura Kenji (1895–1970). Origami Cranes. Silver and gilt silver, 1930s. 10.5 x 28.6 x 19.4 cm (41/8 x 11¼ x 75/8 in.). Photograph courtesy of The Levenson Collection.

Satomi Munetsugu (1904–1996); Publisher: Board of Tourist Industry; Printer: Seihan Printing Company Japan: Japanese Government Railways. Poster; color lithograph, inks on paper, 1937. 99 x 63.5 cm (39 x 25 in.). Photograph courtesy of The Levenson Collection.

Kurozumi Toyonosuke (1980–1955); Publisher: Osaka Railway Bureau. Shimotsui, Shibukawa, Tsuda Matsubara no kaisuiyoku (Seabathing at Shimotsui, Shibukawa, Tsuda Matsubara). Poster; color lithograph, inks on paper, mid-1930s. 89.9 x 67.3 cm (353/8 x 26½ in.). Photograph courtesy of The Levenson Collection.

Tsuda Shinobu (1875–1946). Deluded Demons Run Away: Roaring Chinese Lion. Cast bronze, 1938. 18.2 x 27.5 x 9.1 cm (11 x 17¼ x 5½ in.). Photograph courtesy of The Levenson Collection.

Enomoto Chikatoshi (1898–1973). Furorida (Florida). Ink and colors on paper, about 1935. Each: 81.1 x 176.7 cm (3115/16 x 69 9/16 in.). Photograph courtesy of The Levenson Collection.

Saitō Kazō (1887–1955); Publisher: Bikutā Shuppansha Misu Nippon no uta (Song of Miss Nippon), from series Bikutā hāmonika chōtokusen gakufu (Victor Harmonica Sheet Music: Extra Special Selection). Songbook cover; color lithograph, inks on paper, 1930. 26.5 x 19 cm. (105/16 x 77/16 in.). Photograph courtesy of The Levenson Collection.

Kosen (dates unknown). Sake Flask in the Form of an Akita Dog. Porcelain, 1930s. 19.7 x 17.8 x 8.9 cm (7¾ x 7 x 3½ in.). Photograph courtesy of The Levenson Collection.

Ishikawa Toraji (1875–1964). Odori (Dance), from series Rajo jūsshu (Ten Nudes). Woodblock print; ink, colors, and mica on paper, 1934. 35.6 x 28 cm (14 x 11 in.). Photograph courtesy of The Levenson Collection.

Miki Suizan (1887–1957). Junpū (A Fair Wind). Panel; ink, colors, and mica on silk. 1933; exhibited at the 14th Teiten Exhibition Museum of Fine Arts, Boston; Charles H. Bayley Picture and Painting Fund and Museum purchase with funds donated anonymously.

Kobayakawa Kiyoshi (1899–1948). Horoyoi (Tipsy), first print from series Kindai jiseisō (Styles of Contemporary Makeup). Woodblock print; ink and colors on paper, February 1930. 43.6 x 27.7 cm (20½ x 12 in.). Photograph courtesy of The Levenson Collection.

Narrativas Passadas: Quatro Séculos de Desenhos franceses

Jean-Baptiste Greuze, The Arms of a Girl Holding a Bird, c. 1765, Red chalk on cream laid paper, laid down, 12 9/16 x 10 3/4", Blanton Museum of Art. The Suida-Manning Collection.

Grey Art Gallery
New York University
New York
17 abril - 14 julho, 2012

Alexandre-Louis Leloir, Moroccan Girl Playing a Stringed Instrument, 1875, Watercolor, gouache, and graphite on ivory wove paper, 9 5/8 x 13 9/16", Blanton Museum of Art. Gift of the Wunsch Foundation, Inc., 1983.

Ao longo da história, os artistas têm procurado novas formas de contar histórias através de meios visuais.

Throughout history, artists have sought new ways to tell stories through visual means.

Attributed to Etienne Jeaurat, Three Women, Two with Baskets, c. 1770, Black and white chalk on gray laid paper, 7 1/4 x 9", Blanton Museum of Art. The Suida-Manning Collection.

Composta por obras provenientes de coleções do  Blanton Museum of Art at The University of Texas at Austin, Narrativas Passadas apresenta perspectivas nas dramáticas narrativas francesas do século 16 ao século 19. Bíblicas, históricas, mitológicas e contemporâneas abundam em desenhos de artistas como Jacques Callot, François Boucher, Théodore Rousseau , Jean-Louis Forain e Théophile Alexandre Steinlen.

Comprised of works from collections at the Blanton Museum of Art at The University of Texas at Austin, Storied Past presents French perspectives on dramatic narrative from the 16th through 19th centuries. Biblical, historical, mythological, and contemporary characters abound in drawings by artists such as Jacques Callot, François Boucher, Théodore Rousseau, Jean-Louis Forain and Théophile Alexandre Steinlen. 

Circle of Daniel Halle, A Warrior amid Classical Ruins, c. 1650-99, Black chalk and brown wash heightened with white on brown laid paper, 15 1/2 x 11", Blanton Museum of Art. The Suida-Manning Collection.

Com mais de 50 obras, a exposição revela a gama expressiva e técnica do desenho francês através dos esboços preliminares, estudos de figura, e composições acabadas - executadas em uma variedade de meios sobre o papel.

Featuring more than 50 works, the exhibition reveals the expressive and technical range of French drawing through preliminary sketches, figure studies, and finished compositions—executed in a variety of media on paper.

François Boucher, Mucius Scaevola Putting His Hand, in the Fire, c. 1726-28, Black and white chalks on blue antique laid paper, laid down, 18 3/8 x 14 15/16", Blanton Museum of Art. The Suida-Manning Collection.

Rastreando mudanças na história do desenho francês,  Narrativas Passadas explora o papel da Academia, a influência da arte italiana, e o desenvolvimento de gostos distintos em estilos e temas. Nos séculos 17 e 18, os artistas franceses foram para Roma, uma Meca da experimentação artística e mecenato. O fascínio da Itália permeia muito do tema e da estética a mostra em Narrativas Passadas.

Tracing shifts in the history of French drawing, Storied Past explores the role of the Academy, the influence of Italian art, and the development of distinctive tastes in style and subject matter. In the 17th and 18th centuries, French artists flocked to Rome, a mecca of artistic experimentation and patronage. Italy’s allure permeates much of the subject matter and aesthetics on view in Storied Past.

Charles-Antoine Coypel, France Thanking Heaven for the Recovery of Louis XV, 1744, Black and white chalks with brush and gray wash and touches of red chalk, on cream antique laid paper, 11 15/16 x 7 7/8', Blanton Museum of Art. The Suida-Manning Collection.

Iconografia clássica prolifera: Vênus e Cupido prosperam entre os deuses dos rios; Netuno comanda os mares, e Hércules chega triunfante ao Monte Olimpo. No século 19 - um momento de grande transformação industrial, política e artística - muitos artistas abandonaram o idealismo eo classicismo de abordagens realistas. Cenas da vida cotidiana tiveram precedencia sobre os temas anteriormente populares religiosos e heróicos.

Classical iconography proliferates: Venus and Cupid luxuriate among river gods; Neptune commands the seas; and Hercules arrives triumphantly at Mount Olympus. In the 19th century — a time of great industrial, political, and artistic transformation — many artists abandoned idealism and classicism for realist approaches. Scenes of everyday life took prece- dence over the previously popular religious and heroic themes.

Henri-Joseph Hesse, Portrait of a Man, c. 1811, Brush with brown ink and white heightening over traces of black chalk on beige wove paper, 9 1/4 in. x 7 5/8", Blanton Museum of Art. Archer M. Huntington, Museum Fund, 1987.

"Narrativas Passadas" título da mostra se refere não só aos sujeitos narrativos favorecidos por artistas franceses e seus patronos, mas também por histórias individuais dos trabalhos em vista:

The “storied past” of the show’s title refers not only to the narrative subjects favored by French artists and their patrons, but also to the individual histories of the works on view:

Théophile Alexandre Steinlen, À l’atelier, c. 1895, Graphite on wove paper, 11 1/2 x 6 5/8", Blanton Museum of Art. Gift of Alvin and Ethel Romansky, 1978.

Os rótulos da exposição apresentam análises das obras técnicas, materiais e proveniência pelos curadores e conservadores . Ilustrando as narrativas dos desenhos, bem como em seu tema Narrativas Passadas oferece um insight para a relação fundamental entre as artes visuais e as narrativas.

The exhibition labels present curators and conservators’ analyses of the works’ techniques, materials, and provenance. By illuminating the narratives of the drawings as well as in their subject matter, Storied Past offers insight into the fundamental relationship between the visual arts and storytelling.

Théodore Rousseau, A Marshy River Landscape, c. 1845, Charcoal heightened with white chalk on pink wove paper, 9 3/16 x 16 15/16", Blanton Museum of Art. Gift of Mr. E. Wyllys Andrews IV, Charles and Dorothy Clark,

Narrativas Passadas: Quatro Séculos de Desenhos franceses do Blanton Museum of Art vem acompanhada por um catálogo a cores feito pelo Blanton Museum of Art da University of Texas em Austin.

Storied Past: Four Centuries of French Drawings from the Blanton Museum of Art and its accompanying full-color catalogue were organized by the Blanton Museum of Art at The University of Texas at Austin. 

Attributed to Étienne Allegrain, A Classical Landscape, c. 1700, Pen and brown ink, brown wash heightened with white, laid down on card, 11 x 16", Blanton Museum of Art. The Suida-Manning Collection.




Grey Art Gallery
New York University
100 Washington Square East
212-998-6780

Modigliani, Soutine e a Aventura de Montparnasse

Quer ver um tesouro? Então vá  a Pinacoteca de Paris, onde está sendo realizada uma mostra de 4 de Abril de 2012 a 9 de setembro de 2012, uma grande exposição!!

Vous voulez voir un trésor ? Alors allez à la Pinacothèque de Paris où se tient, du 4 avril 2012 au 9 septembre 2012, cette formidable exposition !



Soutine, L'Escalier rouge à Cagnes

Marc Restellini nos informa que as pinturas de Modigliani da coleção agora está em exibição não foram expostas por mais de 70 anos e os descendentes de Netter estão emprestando estas telas para ajudar, através de um fundo de doação as crianças desfavorecidas. A Pinacoteca está, portanto, envolvida com esta exposição, um grande projeto humanitário.

Marc Restellini nous informe que les toiles de Modigliani de la collection exposées aujourd’hui ne l’ont pas été depuis plus de 70 ans et les descendants de Netter prêtent ces toiles dans le but d’aider, par le biais d’une fonds de dotation, l’enfance défavorisée. La Pinacothèque participe donc, avec cette exposition, à un grand projet humanitaire.



Autoportrait au rideau c. 1917
Chaïm Soutine Huile sur toile, 72,5 x 53,5 cm. Collection privée © Adagp, Paris 2012 © Photo : Pinacothèque de Paris / Fabrice Gousset


Marc Restellini ama os colecionadores (recentemente ele apresentou a coleção Kremer - A Era de Ouro holandesa, os Kremer foram colecionadores contemporâneos). É verdade que foram os colecionadores, que descobriram e promoveram os grandes artistas que sem estes permaneceriam nas escuridão.

Marc Restellini aime les collectionneurs (récemment il nous a présenté la collection Kremer - L’âge d’or hollandais-, les Kremer étant des collectionneurs contemporains).    Il est vrai que ce sont eux, les collectionneurs, qui découvrent et encouragent les grands artistes qui, sans eux, resteraient dans l’ombre.




L’Homme au chapeau c. 1919/1920
Huile sur toile 130 x 65,1 cm Collection privée © Adagp, Paris 2012 © Photo : Pinacothèque de Paris / Fabrice Gousset


Jonas Netter
Jonas Netter (1870-1946) foi um "agente de exportação", muito honesto e muito simples.
Ele amava a arte da pintura e podemos ver que ele tinha muito bom gosto.
Suas preferências iam para os impressionistas, mas ele não podia se oferecer essas obras, muito caras para ele. Foi também um bom pianista e um amante da música.

Jonas Netter

Jonas Netter (1870-1946) était un « Agent de l’exportation », très honnête et très droit.

Il aimait l’art de la peinture et on pourra voir qu’il avait un goût très sûr.

Ses préférences allaient vers les impressionnistes, mais il ne pouvait s’offrir leurs œuvres, trop chères pour lui. C’était aussi un bon pianiste et un mélomane averti.

Chaïm Soutine, La Folle, c. 1919, © Adagp, Paris 2012 © Photo: Pinacothèque de Paris/Fabrice Gousset


Nascimento de Montparnasse
Mas o destino vai ajudá-lo com o nascimento de um novo  bairro de artistas que irá substituir Montmartre ou seja Montparnasse.  Faz a festa, e os pintores pobres se misturam com os colecionadores ricos.


Naissance de Montparnasse
Mais le destin viendra à son secours avec la naissance d’un nouveau « quartier d’artistes » qui remplacera Montmartre, à savoir Montparnasse. On fait la fête, et les peintres pauvres se mélangent avec les riches collectionneurs.





Portrait de la jeune fille rousse (Jeanne Hébuterne)
Amedeo Modigliani 1918 Huile sur toile, 46 x 29 cm. Collection privée © Photo : Pinacothèque de Paris






Portrait de Soutine 1916
Amedeo Modigliani Huile sur toile, 100 x 65 cm. Collection privée © Photo : Pinacothèque de Paris / Fabrice Gousset





Amedeo Modigliani - Elvire au col blanc, 1917 ou 1918


a exposição
124 obras estão espostas aqui que, entre as mais famosas, 15 Modiglianis (incluindo 4 belos desenhos), 14  Utrillos, 19 Soutines, 3 Vlamincks e 3 Derains.


L’exposition
124 œuvres sont exposées ici dont, parmi les plus célèbres, 15 Modigliani (dont 4 dessins splendides), 14 Utrillo, 19 Soutine, 3 Vlaminck, et 3 Derain.




Place de l’église à Montmagny c. 1907
Maurice Utrillo Huile sur toile, 54 x 81 cm. Collection privée © Adagp, Paris 2012 © Jean Fabris, 2012 © Photo : Pinacothèque de Paris / Fabrice Gousset






Fillette en bleu 1918
Amedeo Modigliani Huile sur toile, 116 x 73 cm. Collection privée © Photo : Pinacothèque de Paris






Suzanne Valadon







28 Place de la Madeleine  75008 Paris, França
01 42 68 02 01

A Busca da Imortalidade: Tesouros da Tumba da China Han

Pottery Musician, 2nd century BC, Western Han Dynasty, Height: 33 cm, Unearthed from Tuolanshan King of Chu tomb 1989, Xuzhou Museum, Jiangsu Province.

Fitzwilliam Museum, Cambridge
The Search for Immortality: Tomb Treasures of Han China
5 maio - 11 novembro, 2012

Jade Coffin, 2nd century BC, Western Han Dynasty, Length 280 cm; Width: 110 cm; Height: 108 cm, Unearthed at Shizishan 1994-1995, Xuzhou Museum, Jiangsu Province.

Na primeira exposição do gênero, o Museu Fitzwilliam, relata a história da busca da imortalidade e luta pela legitimidade imperial na Dinastia Han da antiga China .

In the first exhibition of its kind, the Fitzwilliam Museum relates the story of the quest for immortality and struggle for imperial legitimacy in ancient China’s Han Dynasty.

Jade Suit, 2nd century BC, Western Han Dynasty, Length: 175 cm; Width: 68 cm, Unearthed at Shizishan in 1994-1995, Xuzhou Museum, Jiangsu Province.

Tesouros do túmulo da China Han apresentam mais de 300 peças em jade, ouro, prata, bronze e cerâmica na  maior e mais importante exposição dos antigos tesouros reais a viajar para fora da China.

Tomb Treasures of Han China features over 300 treasures in jade, gold, silver, bronze and ceramics in the largest and most important exhibition of ancient royal treasures ever to travel outside China.

Tomb Xuzhou (Beidongshan site 1), Tomb interior from Beidongshan, Photo courtesy of Xuzhou Museum.

A Dinastia Han estabeleceu a base para o governo unificado da China até os dias atuais.

The Han Dynasty established the basis for unified rule of China up to the present day.

Jade Cup, 2nd century BC, Western Han Dynasty, Height: 17 cm, Unearthed at, Xianggangshan 1983, The Museum of the King of Nanyue, Guangdong Province.

Para manter este império ganho com dificuldade os imperadores Han tiveram de se engajar em uma luta constante pelo poder e pela legitimidade, com lutas que ocorreram tanto nos campos simbólicos de batalhas, tanto quanto nos reais.

To maintain this hard-won empire the Han emperors had to engage in a constant struggle for power and legitimacy, with contests that took place on symbolic battlefields as much as on real ones.

Excavation – Nanyue 2, The Eastern Chamber, Site excavated in 1983, Photo courtesy of The Museum of the King of Nanyue.

Enquanto relatos escritos fornecem um esboço destes eventos, é através das descobertas arqueológicas impressionantes das últimas décadas que o drama completo e espetáculo deste episódio crítico na história chinesa foi trazido à tona.

While written accounts provide an outline of these events, it is through the stunning archaeological discoveries of recent decades that the full drama and spectacle of this critical episode in Chinese history has been brought to life.

Stone Lion Weight, 2nd century BC, Western Han Dynasty, Length: 23.5 cm; Width: 13 cm; Height: 14.5 cm, Unearthed at Shizishan site in 1994, Xuzhou Museum, Jiangsu Province.

Dr. Timothy Potts, diretor do Museu Fitzwilliam, comentou: "É impossível exagerar a importância da dinastia Han na formação de uma cultura chinesa e identidade nacional.

Dr Timothy Potts, Director of the Fitzwilliam Museum, commented: “It is impossible to overstate the importance of the Han Dynasty in the formation of a Chinese national culture and identity.

Excavation – Nanyue 3, The King’s Coffin Chamber, Site excavated in 1983, Photo courtesy of The Museum of the King of Nanyue,

Na época dos antigos romanos, os imperadores Han foram o primeiro a unificar uma grande parte das regiões que hoje conhecemos como China sob um império sustentado, que governaram praticamente sem serem desafiados durante 400 anos.

At the time of the ancient Romans, the Han emperors were the first to unify a large part of the regions we now know as China under a sustained empire, which they ruled virtually unchallenged for 400 years. 

Jade Dragon Pendant, 2nd century BC, Western Han Dynasty, Length: 18 cm; Width: 11.9 cm, Unearthed at Shizishan site 1994-1995, Xuzhou Museum, Jiangsu Province.

A Dinastia Han deu seu nome à língua chinesa, o seu script e, a grande maioria do povo chinês. Foi sem dúvida o período de definição da história da China e do ponto da gênese para a China de hoje.

The Han Dynasty gave its name to the Chinese language, its script and the vast majority of the Chinese people. It was arguably the defining period of China’s history and the point of genesis for the China of today. 

Pottery Official, 2nd century BC, Western Han Dynasty, Length: around 54 cm, Unearthed at Yangguishan sacrificial pit 2005, Xuzhou Museum, Jiangsu Province.

Os objetos espetaculares desta exposição trazem para Cambridge os melhores tesouros dos túmulos da família real Han, a ourivesaria soberba, jades e outras oferendas requintadamente fabricadas que os reis escolheram para ser enterrados na sua jornada para a vida após a morte.

The spectacular objects in this exhibition bring to Cambridge the finest treasures from the tombs of the Han royal family, the superb goldwork, jades and other exquisitely crafted offerings the kings chose to be buried with on their journey to the afterlife.

Por seu refinamento, arte e pura beleza  eles rivalizam com qualquer coisa da antiguidade. "

For their artistry, refinement and pure beauty they rival anything from the ancient world.”

Excavation - Xuzhuo (pottery figures), Terracotta warrior pits from Shizishan, Photo courtesy of Xuzhou Museum.

Esta exposição pioneira compara os túmulos espetaculares de duas facções rivais de poder: a Han família imperial do "berço" norte da história chinesa, e a do Reino de Nanyue no sul, cuja capital atual é Guangzhou formaram a porta de entrada para o comércio rico rotas do Mar da China e do Oceano Índico.

This pioneering exhibition compares the spectacular tombs of two rival power factions: the Han imperial family in the northern ‘cradle’ of Chinese history, and the Kingdom of Nanyue in the south, whose capital in modern-day Guangzhou formed the gateway to the rich trade routes of the China Sea and Indian Ocean. 

Jade ornament with an animal mask, 2nd century BC, Western Han Dynasty, Length: 16.7 cm; Width: 13.8 cm, Unearthed at Xianggangshan 198, Nanyue Wang Museum, Guangdong Province.

Objetos destes túmulos nunca foram exibidos juntos numa única exposição. Através desta exposição revela-se  tanto na vida como, na morte, o Império e Reino fizeram um jogo diplomático de gato e rato, um para afirmar a sua supremacia, o outro para preservar a sua autonomia.

Objects from these tombs have never before been displayed together as a single exhibition. Through the exhibition it is revealed how, in both life and in death, Empire and Kingdom played a diplomatic game of cat and mouse, one to assert its supremacy, the other to preserve its autonomy.

Gold Seal belonging to the Marquis of Wanqu, 2nd century BC, Western Han Dynasty, Height: 2.1 cm; Length: 2.3 cm, Unearthed from tomb M3 at Bojishan in 1994, Xuzhou Museum, Jiangsu Province.

Protegido por guardiões de barro e cercados por jade e ouro, os túmulos dos monarcas dos palácios eram palacios para acomodar imortais.

Protected by clay guardians and surrounded by jade and gold, the monarchs’ tombs were palaces fit for immortals.

Gold Belt Plaque, 2nd century BC, Western Han Dynasty, Length: 13.3 cm; Width: 6 cm, Excavated from Shizishan, Xuzhou, Xuzhou Museum, Jiangsu Province.

Cada túmulo era um símbolo de poder e majestade, concebido para garantir que o seu proprietário continuasse a desfrutar na vida após a morte os mesmos confortos e privilégios que lhes eram conferidos durante a vida. Ao mostrar esses dois túmulos juntos, A Busca da Imortalidade lança nova luz sobre um período crítico da história primitiva da China. A exposição só pode ser vista em Cambridge.

Each tomb was a symbol of power and majesty, designed to ensure that its owner continued to enjoy in the afterlife the same comforts and privileges afforded to them in life. In showing these two tombs together, The Search for Immortality sheds new light on a critical period of China’s early history. The exhibition can only be seen in Cambridge.

Excavation – Nanyue 1, The Western Chamber, Site excavated in 1983, Photo courtesy of The Museum of the King of Nanyue.



Fitzwilliam Museum
Trumpington Street
≠ 01223 332900
Cambridge