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Ping Chong |
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Ping Chong is a theater director. He was born in 1946 and raised
in New York City's Chinatown. He studied filmmaking and graphic
design at the School of Visual Arts and the Pratt Institute before
deciding on a theatrical career. In 1975 Chong founded Ping Chong
and Company, originally The Fiji Theatre Company. His works have
been presented throughout North America, Europe, and Asia, in such
prestigious venues as the Brooklyn Academy of Music's Next Wave
Festival and the Spoleto Festival USA. Chong has received numerous
awards and honors including the Bessie Award (1990 and 1998) and
the Obie Award (1977 and 2000). His most recent production, Edda:
Viking Tales of Lust, Revenge and Family was presented at the Lincoln
Center Festival in July 2001.
Selected
Objects
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Saint Sambandar
India, Tamil Nadu
Chola period, 12th century
Copper alloy
H. 18 7/8 in. (47.9 cm); 1979.24 |
Few cultures in the
world can rival the complexity, richness, and sophistication of India's
dance and music. This image of the child Saint Sambandar seems to single-handedly
embody this fact. It is a masterful distillation of two art forms, music
and dance, into another, sculpture. Saint Sambandar fairly ignites the
space around him in a celebratorial whirl of visual sound and motion.
The plenitude of gesture in both Indian dance and music must surely account
for the frequency of lithe hand gestures and poses, as well as intricate,
visual detail consistently present in Indian sculpture as exemplified
by this work. As such, Indian sculpture always seems musical to the senses,
unabashedly expressive of the innate ripeness and sensuality of life itself.
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Female Figure
Cambodia
Angkor period, Baphuon style, early 11th century
Sandstone
H. 38 in. (96.5 cm); 1979.65
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The quiet curves of
this female figure, from the gentle slope of her shoulders, breasts rounding
still, waist gliding through ample hips cascading down an elongated skirt,
conspires to create an effect of chaste, insistent simplicity. The absence
of a head, arms, and feet, the delicately etched lines of her skirts,
demure and pale, reinforce this effect. At the same time, the lines return
our eyes to the fullness of her torso in an emblematic embrace between
a twenty-first century gaze and an expression in sandstone across the
divide of culture and time.
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Female
Attendant
North China
Western Han period, 2nd century B.C.E.
Earthenware with slip and traces of pigment
H. 21 1/2 in. (54.6cm); 1979.110 |
How many centuries
did she stand at attention accompanying her lord to the netherworld in
the blackness of royal tomb? Under what circumstances did the light of
day blind her and then reveal to her the sights and smells of a China
irrevocably changed? When did she, a humble personage, never intended
as an objet d'art become an objet d'art? Why does the visible evidence
of time wrought on her being, the discoloration, the chips and cracks
move us so? Is it because she reminds us of the endless suffering of the
Chinese poor and by extension the poor of the world who continue to be
exploited by the rich and powerful? In her erect quietude we feel her
stoicism, her forbearance, her eternal dignity in an essentially unjust
world.
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Zen'en (active first half 13th century)
Bodhisattva Kshitigarbha (Jizo Bosatu)
Japan
Kamakura period, 1223-1226
Cypress wood with cut gold leaf and traces of pigment; Staff with metal
attachments
H. 22 3/4 in. (57.8 cm); 1979.202a-e
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When
I first made the acquaintance of this personage, it was through a large
format, color photograph in a glossy, coffee table book. Later, I would
meet him again in a climate controlled storage room at Asia Society's temporary
quarters on Park Avenue. In that cool, indifferent room, he was lying in
state housed in a metal cabinet detached into four separate pieces: Head,
body, base, and staff. Now he stands before you protected in a display case
lit in a tasteful manner, an antiquity of immense value. Once he stood in
a Buddhist temple imbued with a spiritual purpose, a member of a spiritual
whole. And as extraordinarily beautiful as this personage is, it is his
spiritual substance that above all holds me still.
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Calligraphy
by Hon'ami Koetsu (1558-1637)
Painting by a follower of Tawaraya Sotatsu
Poem Scroll with Selections from the Anthology of Chinese and Japanese
Poems for Recitation (Wakan Roei Shu)
Japan
Edo period, dated to 1626
Handscroll; ink and gold on silk
12 5/8 x 206 1/2 in. (32.1 x 524.5 cm); 1979.214
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Viewing this scroll,
I am denied the music of the Chinese and Japanese language configured as
poetry since I cannot read either language. I can also only imagine the
original context in which this scroll was meant to be viewed, intimately,
in the seventeenth century, aristocratic world of Japan. All that said,
one can still take ample if not complete pleasure in the loveliness of this
work, in the complex interplay of light and space, form and structure. It
is an elegant, visual dance between calligraphic gesture and bamboo shimmering
with gold seen through an elongated window, slowly unfolding. |
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