# data[].attributes.body
PBS: A People's History of Asian America

How many A’s in AAPI? Dolly & Adrian hear from South Asian, Southeast Asian, and Pacific Islander voices to explore the pros and cons of disaggregating Asian American as a statistical category.

# data[].attributes.attachment_link.title
Are You “AAPI” or “Asian American”? It's Complicated. | A People's History of Asian America

# data[].attributes.headline
Facing Today: 11 Resources for Teaching about AAPI Heritage Month

# data[].attributes.subject
Facing Today: 11 Resources for Teaching about AAPI Heritage Month

# data[].attributes.attachment_link.title
11 Resources for Teaching About AAPI Experiences

# data[].attributes.attachment_link.description
Asian Pacific Islander Heritage Month each May is a great time to recommit to centering Asian American and Pacific Islander (AAPI) experiences in the classroom. Check out the following resources from a host of cultural institutions including the Wing Luke Museum of the Asian American Experience, Japanese American National Museum, Smithsonian Institution, and California Museum to expand your pool of classroom offerings on the historical and contemporary experiences of AAPI peoples.

# data[].attributes.headline
Empowering Educators: A Guidebook on Race & Racism 

# data[].attributes.subject
Empowering Educators: A Guidebook on Race & Racism 

# data[].attributes.body
An Introduction to AntiRacist Pedagogy

# data[].attributes.body
Follow on Instagram
Shop their Bookshop

Children's books featuring characters of Asian and other BIPOC identities for all libraries, bookshelves, and cozy reading moments.

# data[].attributes.body
Follow on Instagram.

Bringing you children's books that reflect the diversity and the unique cultures that make up our nation and world.

# data[].attributes.body
Follow on Instagram

Advancing social justice by engaging the Pacific Islander community in culture-centered advocacy, research + leadership development.

# data[].attributes.body
Follow on Instagram

Empowering Asian youth into intersectional activism.

# data[].attributes.body
Follow on Instagram

Educators united against injustice marching towards a brighter future for the next generation

# data[].attributes.body
Follow on Instagram

A collective empowering community through Queer APISWAD (Asian/Pacific Islander/Southwest Asian/Desi) visibility.

# data[].attributes.body
Follow on Instagram

# data[].attributes.body
Explore the CMA's collection online with Asian-American filtered results.

# data[].attributes.attachment_link.readable_text
Louise Bourgeois (American, 1911-2010)

after Albrecht Dürer (German, 1471-1528) and 1 other

Joan Miró (Spanish, 1893-1983)

attributed to Berlin Painter (Greek, Attic, active c. 505-460 BC) and 1 other

Viktor Schreckengost (American, 1906-2008) and 1 other

attributed to Mir Musavvir (Iranian, c. 1510-1555) and 1 other

Title, Date

Artist / Culture

Accession number

Medium

Dimensions

Credit line

Rights

after Albrecht Dürer (German, 1471-1528) and 1 other

1946.217

Watercolor and gouache with touches of gold

Sheet: 29.2 x 16.9 cm (11 1/2 x 6 5/8 in.); Secondary Support: 29.2 x 16.9 cm (11 1/2 x 6 5/8 in.)

Dudley P. Allen Fund

attributed to Berlin Painter (Greek, Attic, active c. 505-460 BC) and 1 other

1978.59

Ceramic

Diameter: 14.1 cm (5 9/16 in.); Diameter of mouth: 8.7 cm (3 7/16 in.); Overall: 38 cm (14 15/16 in.); Diameter of foot: 10 cm (3 15/16 in.)

Purchase from the J. H. Wade Fund

attributed to Mir Musavvir (Iranian, c. 1510-1555) and 1 other

1988.96

Opaque watercolor, ink, gold, and silver on paper

Sheet: 47.5 x 32.2 cm (18 11/16 x 12 11/16 in.); Image: 28.4 x 18.5 cm (11 3/16 x 7 5/16 in.)

Leonard C. Hanna, Jr. Fund

# data[].attributes.attachment_link.description
Louise Bourgeois (American, 1911-2010) after Albrecht Dürer (German, 1471-1528) and 1 other Joan Miró (Spanish, 1893-1983) attributed to Berlin Painter (Greek, Attic, active c. 505-460 BC) and 1 other Viktor Schreckengost (American, 1906-2008) and 1 other attributed to Mir Musavvir (Iranian, c.

# data[].attributes.body
The Indian and Southeast Asian art collection comprises three broad areas: India proper, the Himalayas, and Southeast Asia. The collection covers the period of the entire artistic activity on the Indian subcontinent from the earliest (Neolithic) period until the 20th century.

# data[].attributes.attachment_link.description
The Cleveland Museum of Art's Indian and Southeast Asian collection is rated as one of the leading collections in this area, both nationally and internationally. The Indian and Southeast Asian art collection comprises three broad areas: India proper, the Himalayas, and Southeast Asia.

# data[].attributes.body
Most of the 178 artworks were made in Iran, Iraq, Egypt, Syria, and Turkey during the 8th through 17th centuries in ceramic, metalwork, glass, and on parchment and paper.

# data[].attributes.attachment_link.description
Art from Islamic LandsThe collection of art from Islamic lands is also well known. Most of the 178 artworks were made in Iran, Iraq, Egypt, Syria, and Turkey during the 8th through 17th centuries in ceramic, metalwork, glass, and on parchment and paper. The strongest holdings are in miniature paintings.

# data[].attributes.body
The collection features a robust selection of works in a variety of media.

# data[].attributes.attachment_link.readable_text
Korean Art

The Cleveland Museum of Art's collection of Korean art is one of the most distinguished collections outside of Korea.

The Cleveland Museum of Art has been actively acquiring Korean art by gift and purchase since 1915. The collection features a robust selection of works in a variety of media. The holdings in ceramics are especially strong, and include a number of fine celadons from the Goryeo dynasty (918-1392). The painting collection contains rare Goryeo Buddhist paintings, as well as Joseon dynasty (1392-1897) paintings such as landscapes and portraits. Its selection of folding screen paintings includes a notable 19th-century example from the genre of "scholars' accouterments," or chaekkori, as well as an important pair of 15th-century ink landscape screens by Yi Sumun, a Korean artist who painted in Japan. Bronze Buddhist statuary and ritual objects from the Three Kingdoms period (57 BC-AD 668) through the Goryeo dynasty attest to the sophisticated craftsmanship of these eras. The collection also has significant examples of early earthenware vessels and other archaeological materials.

# data[].attributes.attachment_link.description
The Cleveland Museum of Art's collection of Korean art is one of the most distinguished collections outside of Korea. The Cleveland Museum of Art has been actively acquiring Korean art by gift and purchase since 1915. The collection features a robust selection of works in a variety of media.

# data[].attributes.headline
Gold Needles: Embroidery Arts from Korea

# data[].attributes.subject
Gold Needles: Embroidery Arts from Korea

# data[].attributes.attachment_link.title
Gold Needles: Embroidery Arts from Korea

# data[].attributes.attachment_link.description
Wedding Gown, late 1800s. Korea, Joseon dynasty (1392-1910). Silk: satin weave; embroidery; paper edging on neck and sleeves; 114.3 x 174 cm. The Cleveland Museum of Art, The Worcester R. Warner Collection, 1918.552. Photo: The Cleveland Museum of Art

# data[].attributes.body
From prehistory to today, the Chinese art collection spans more than 5,000 years and embraces a diversity of art forms including jades, bronzes, lacquer, sculpture, paintings, calligraphy, furniture, bamboo carvings, and more.

# data[].attributes.attachment_link.readable_text
Chinese Art

The Cleveland Museum of Art's Chinese art collection is one of the most distinguished in the West, representing the highest level of Chinese artistic accomplishment. From prehistory to today, the Chinese art collection spans more than 5,000 years and embraces a diversity of art forms including jades, bronzes, lacquer, sculpture, paintings, calligraphy, furniture, bamboo carvings, and more. The most outstanding sections of the collection are paintings, Buddhist sculpture, ceramics, and textiles. Not only is the sequence of chronological development reasonably complete, but the collection is also represented by works of international significance. It continues to expand in all directions, taking into consideration the rich traditions as well as the ongoing artistic developments of China.

The reinstallation of the West Wing Galleries is supported in part by an award from the National Endowment for the Arts.

# data[].attributes.attachment_link.description
The Cleveland Museum of Art's Chinese art collection is one of the most distinguished in the West, representing the highest level of Chinese artistic accomplishment. From prehistory to today, the Chinese art collection spans more than 5,000 years and embraces a diversity of art forms including jades, bronzes, lacquer, sculpture, paintings, calligraphy, furniture, bamboo carvings, and more.

# data[].attributes.body
Today, the museum’s Japanese collection comprises some 1,950 works spanning a period of approximately 5,000 years and includes masterworks of painting, sculpture, and prints, as well as ceramics, metalwork, and other decorative arts.

# data[].attributes.attachment_link.readable_text
Japanese Art

The Cleveland Museum of Art's collection of Japanese art is one of the most distinguished collections outside of Japan.

In 1916, when the Cleveland Museum of Art's first building opened, its holdings in Japanese art already included some noteworthy Japanese woodblock prints designed by print world luminaries such as Okumura Masanobu (1686-1764) and Kitagawa Utamaro (1754-1806). Today, the museum's Japanese collection comprises some 1,950 works spanning a period of approximately 5,000 years and includes masterworks of painting, sculpture, and prints, as well as ceramics, metalwork, and other decorative arts. The Japanese calligraphy and painting collection is impressive in its breadth, from sacred texts executed in silver and gold characters on dyed paper to expansive ink-painted vistas once intended for sliding door panels. Its selection of folding screen paintings covers many of the major genres, from bird-and-flower compositions to festival scenes, and includes examples by artists such as Sesson Shukei (c. 1504-c. 1589) and Maruyama Okyo (1733-1795). The collection also contains notable works of early Buddhist and Shinto art.

# data[].attributes.attachment_link.description
The Cleveland Museum of Art's collection of Japanese art is one of the most distinguished collections outside of Japan. In 1916, when the Cleveland Museum of Art's first building opened, its holdings in Japanese art already included some noteworthy Japanese woodblock prints designed by print world luminaries such as Okumura Masanobu (1686-1764) and Kitagawa Utamaro (1754-1806).

# data[].attributes.headline
Desktop Dialogue: Navigating Gender and Breaking Barriers

# data[].attributes.subject
Desktop Dialogue: Navigating Gender and Breaking Barriers

# data[].attributes.body
New York–based artist Maria Yoon and curator Sooa McCormick explore the pressing issue of gender inequality, past and present, through their shared experience as Korean women and discuss how notions of gender play a role in their artistic and curatorial practices

# data[].attributes.attachment_link.title
Desktop Dialogue: Navigating Gender and Breaking Barriers

# data[].attributes.body
Storytelling in Japanese Art

# data[].attributes.attachment_link.title
Desktop Dialogue: Storytelling in Japanese Art

# data[].attributes.body
Sonic Blossom is an interactive performance that imparts the gift of song to visitors.

# data[].attributes.attachment_link.title
Lee Mingwei: Sonic Blossom Performance | Cleveland Museum of Art

# data[].attributes.body
Pre-K - Kindergarten

# data[].attributes.attachment_link.description
Let's explore our feelings! 1) Look at the pictures of people. How do you think each person feels? 2) See if you can make your face look like theirs. :photo: Take a picture of yourself! 4) Which picture matches how you feel today? Share using your :mic:

# data[].attributes.body
Elementary (Ages 7-9)

# data[].attributes.attachment_link.description
This robe was made for a very special occasion: a wedding! And it wasn't worn by just one bride. It was passed down and reused for many wedding ceremonies. It is made of silk and decorated with flowers, butterflies, and animals. 1) Take a moment to look at this robe.

# data[].attributes.body
The routine encourages metaphorical thinking – central to the work of any artist and to creative thinking in any discipline. Metaphors provoke our imaginations to create comparisons between dissimilar things, often leading to deeper and richer understanding of each.

# data[].attributes.attachment_link.readable_text
What do you see in the artwork? / What do you know about the topic?

Compare: Choose a category from the list below or identify your own category.

Imagine: If this topic/artwork was a kind of _____________ (category), what would it be?

Explain three ways that it compares.

Good bet categories: Things that have a wide variety of parts or types. For example:
Musical instruments, Plants, Toys, Cities, Parts of the body, Artworks of all kinds (for topics that aren't artworks), Music (for any topic or artwork that isn't music)

WHAT KIND OF THINKING DOES THIS ROUTINE ENCOURAGE? The routine encourages metaphorical thinking - central to the work of any artist and to creative thinking in any discipline. Metaphors provoke our imaginations to create comparisons between dissimilar things, often leading to deeper and richer understanding of each.

WHEN AND WHERE CAN IT BE USED? Creating metaphors help students understand unfamiliar subjects by linking it to what they already know. Use the routine when you want to help students make connections between disparate elements or ideas, or to stimulate new insights and solutions.

# data[].attributes.attachment_link.description
What do you see in the artwork? / What do you know about the topic? Compare: Choose a category from the list below or identify your own category. Imagine: If this topic/artwork was a kind of _____________ (category), what would it be? Explain three ways that it compares.

# data[].attributes.body
This routine helps students see and explore multiple perspectives. It helps them understand that different people can have different kinds of connections to the same thing, and that these different connections influence what people see and think.

# data[].attributes.attachment_link.readable_text
1. Brainstorm a list of different perspectives.

2. Choose one perspective to explore, using these sentence-starters:

I am thinking of...the topic ... from the viewpoint of...the viewpoint you've chosen

I think...describe the topic from your viewpoint. Be an actor-take on the character of your viewpoint

A question I have from this viewpoint is...ask a question from this viewpoint

WHAT KIND OF THINKING DOES THIS ROUTINE ENCOURAGE? This routine helps students see and explore multiple perspectives. It helps them understand that different people can have different kinds of connections to the same thing, and that these different connections influence what people see and think.

WHEN AND WHERE CAN IT BE USED? The routine works well with topics and artworks that deal with complex issues. It also works well when students are having a hard time seeing other perspectives or when things seem like there are only two sides to an issue. The routine can be used to open discussions about dilemmas and other controversial issues.

# data[].attributes.attachment_link.description
1. Brainstorm a list of different perspectives. 2. Choose one perspective to explore, using these sentence-starters: I am thinking of...the topic ... from the viewpoint of...the viewpoint you've chosen I think...describe the topic from your viewpoint.

# data[].attributes.body
This routine helps students to reflect on their thinking about a topic or issue and explore how and why that thinking has changed. It can be useful in consolidating new learning as students identify their new understandings, opinions, and beliefs.

# data[].attributes.attachment_link.readable_text
Write or say a few sentences using each of the sentence stems:

* I used to think... (topic, artwork or object)
* Now, I think ... (topic, artwork or object)

WHAT KIND OF THINKING DOES THIS ROUTINE ENCOURAGE? This routine helps students to reflect on how their ideas and impressions have changed over time. It helps students recognize and consolidate new understandings, opinions, and beliefs, and it helps students become more reflective, self-aware learners.

WHEN AND WHERE CAN IT BE USED? Use this routine whenever students' initial thoughts, opinions, or beliefs are likely to have changed as a result of instruction or experience. For instance, use it after reading new information, exploring or making an artwork, watching a film, listening to a speaker, experiencing something new, having a class discussion, and so on.

# data[].attributes.attachment_link.title
I used to think, ...now I think : Artful Thinking

# data[].attributes.attachment_link.description
Write or say a few sentences using each of the sentence stems: * I used to think... (topic, artwork or object) * Now, I think ... (topic, artwork or object) WHAT KIND OF THINKING DOES THIS ROUTINE ENCOURAGE? This routine helps students to reflect on how their ideas and impressions have changed over time.

# data[].attributes.body
Elementary (Ages 6-11)
Artworks can make be great prompts to inspire creative writing! Use an image to help students describe details, construct a story, and share their own interpretation. Inspired by 'Tuti-nama (Tales of a Parrot)'. Click HERE to explore this topic.

# data[].attributes.body
Middle School (Ages 11-14)
Artworks are great tools to inspire creative writing exercises. Ask students to use their creativity and problem solving skills to examine details, use their imagination to form alternate worlds and possibilities, and use their own experiences and observations as inspiration. Click HERE to explore this topic.

# data[].attributes.body
High School (Ages 14-18)

This Flipgrid topic is intended to help students consider their relationship to others in their community. You may find it helpful to include this while discussing topics such as community service, differences across socio-economic and ethnic backgrounds, creating and using support networks for mental health challenges.
Click HERE to explore this topic.

# data[].attributes.headline
In Between Cultures: Finding Asian American Identity

# data[].attributes.subject
In Between Cultures: Finding Asian American Identity

# data[].attributes.body
by Sooa Im McCormick, curator of Korean art
In light of AAPI month, I would like to highlight two forward-thinking artists from the CMA’s collection: Nam June Paik (1932–2006) and Isamu Noguchi (1904–1988).

# data[].attributes.attachment_link.title
In between Cultures: Finding Asian American Identity

# data[].attributes.attachment_link.description
By Sooa Im McCormick, Curator of Korean Art Since 1990, May has been Asian American and Pacific Islander Heritage (AAPI) Month, during which we honor and celebrate Asian and Pacific Americans' contributions to the United States. Due to the recent rise in hate crimes against Asian Americans, this year, the month takes on more urgency than ever.

# data[].attributes.headline
East Meets West: The Fifth Moon Movement

# data[].attributes.subject
East Meets West: The Fifth Moon Movement

# data[].attributes.body
As the Cleveland Museum of Art’s new digital communications manager, Jessica Ketz has the pleasure of showcasing the diversity of the collection on a daily basis, highlighting artists and artworks from all walks of life and from around the world via our digital presence on our blog, social media accounts, and e-newsletters.

# data[].attributes.attachment_link.readable_text
The Modernization of Chinese Ink Painting By Jessica Ketz, Digital Communications Manager
As the Cleveland Museum of Art's new digital communications manager, I have the pleasure of showcasing the diversity of the collection on a daily basis, highlighting artists and artworks from all walks of life and from around the world via our digital presence on our blog, social media accounts, and e-newsletters. As a Chinese-American, I am acutely aware of the shared experiences of the Asian American and Pacific Islander (AAPI) and Asian communities. Considering the rise of hate crimes against members of these groups in the past year and the growth of the Stop Asian Hate movement, I am inspired to contribute my voice.

There are two histories and two cultures that come together to define my cultural identity as a Chinese American. In celebration of AAPI Heritage Month, I would like to highlight two influential artists who have helped me connect the tradition-filled past with an understanding of the present - in their art and in my own cultural identity. While I grew up in a predominantly white area of Cleveland, fortunately I was introduced to other diverse environments very early in life. In particular, I attended Chinese school every Saturday, where I learned Mandarin and traditional Chinese art forms, especially brush painting, calligraphy, and dancing. Although the language aspect fell by the wayside, my interest in Chinese art has persisted as a way to relate to my heritage.

Liu Kuo-sung (劉國松) and Hung Hsien (also known as Margaret Chang) were both crucial to the modernization of ink painting by building the bridge between traditional Chinese brush painting and Western-style abstract art in the post-war years. The Fifth Moon movement (五月畫會) was founded in 1957 by Liu and the other seven painters of the Fifth Moon Group, all graduates from National Taiwan Normal University (NTNU). The movement revolutionized modern art in Taiwan, greatly influenced the development of art in China as well as across the globe, and ushered in a new era of Chinese contemporary art.

Photo: Ko Si-Chi (柯锡杰)

Born in Anhui Province in 1932, Liu Kuo-sung started his training in traditional Chinese painting at the early age of 14. He moved to Taiwan at 17, changed course to study Western painting, and graduated from NTNU in 1956. One year later, he founded the Fifth Moon Group with core members and fellow classmates: Zhuang Zhe (莊喆), Feng Zhongrui (馮鍾睿), Guo Dongrong (郭東榮), Li Fangzhi (李芳枝), Guo Yulun (郭豫倫), Chen Jingrong (陳景容), and Gu Fusheng (顧福生). Regarded as the father of modern ink painting in light of his devotion to the art form, Liu became the driving force of the Fifth Moon movement during the 1960s and 1970s. His artworks have been collected worldwide by more than 60 museums and galleries, and he continues to break barriers for future generations of artists, including me.

"Imitating the new cannot replace imitating the old; copying from Western art cannot replace copying from Chinese art." -Liu Kuo-sung

From the Series: The Coming, 1970. Liu Kuo-sung (Chinese, b. 1932). Hanging scroll; ink and collage on paper; overall: 207.4 x 81.1 cm. The Cleveland Museum of Art, Gift of Dr. and Mrs. Ku Yin Lin, 1970.111.

Inspired by the Apollo missions that culminated in the historic moment of the first humans landing on the moon in 1969, Liu created a series of moonscapes called taikong hua (太空畫). This painting from the CMA's collection is a hanging scroll made with ink and collage on paper and is part of that series. When viewing this work, my eye is drawn to the gradual stylistic transformation from top to bottom, traditional ink painting to Western abstract painting. The two worlds meet at the moon's horizon, creating a natural blend of two cultures influencing each other. I notice the bold calligraphic brush-strokes, usually seen in Chinese brush paintings, in the foreground mixed with the white splashes and texture that seems to offer a sense of ambiguity.

Hung Hsien was born in 1933 in Yangzhou in the Jiangsu Province. She later moved to Chongqing in Sichuan Province, relocated to Nanjing in Jiangsu, and eventually settled in Taiwan. There, she studied under the esteemed Prince Pu Xinyu, a descendant of the ruling house of the Qing dynasty and one of the greatest 20th-century Chinese painters.

"Pu Xinyu was very old fashioned in his teaching style. I would be given one of his compositions to copy over and over again, stroke by stroke to perfect the techniques. Each week, I would bring my homework to him for a formal critique. I studied with him in this manner for years." - Hung Hsien

Hung attended National Taiwan Normal University at the same time Liu Kuo-sung did. After graduating, she moved to Chicago where she continued to study painting at Northwestern University and the Art Institute of Chicago. Her exposure to the Western style of Abstract Expressionism during this time took her on a new path that was different than what she had experienced in her earlier years as a student of Prince Pu Xinyu's, a path that opened with the emergence of the Fifth Moon movement founded by her former classmate.

Frozen Landscape, 1985-90. Hung Hsien (Chinese, b. 1933). Hanging scroll; ink and color on paper; overall: 107.3 x 62.2 cm. The Cleveland Museum of Art, Gift of Dr. and Mrs. Ju-hsi Chou, 2003.286.

In this traditional Chinese hanging scroll from the museum's collection, I am struck by Hung's different approach to blending Chinese ink painting with the more Western style of abstract painting. Unlike the Liu work above, Hungs composition of a rocky, frozen landscape is composed of layered brush strokes that vary in strength and boldness to create depth and surface texture. I like how each brush stroke builds upon the other to give a sense of simultaneous blending of techniques. As a whole, this artwork reminds me of my own past experiences with Chinese ink painting and the artistic elements reminiscent of watercolors and graphite.

Through their artwork, Liu Kuo-sung and Hung Hsien have shown me different ways of fusing Eastern and Western cultures. For me, each artist's portrayal is an accurate depiction of what it means to be Asian American - that the feelings and identity that come with a fusion of two cultures change constantly, and that being Asian American has intricacies unique to every individual. Finding who we are within the broader Asian American identity is a juxtapostition of being or not being Asian or American. It is that a combination of two things creates something that isn't the sum of their parts, but we are unified by knowing that we have been collectively misunderstood.

The two sides don't always come together in the same way and sometimes not at all. It is a constant ebb and flow.

# data[].attributes.attachment_link.title
East Meets West: The Fifth Moon Movement

# data[].attributes.attachment_link.description
The Modernization of Chinese Ink Painting By Jessica Ketz, Digital Communications Manager As the Cleveland Museum of Art's new digital communications manager, I have the pleasure of showcasing the diversity of the collection on a daily basis, highlighting artists and artworks from all walks of life and from around the world via our digital presence on our blog, social media accounts, and e-newsletters.

# data[].attributes.headline
On View Now: Spotlight on a New Generation in Chinese Art

# data[].attributes.subject
On View Now: Spotlight on a New Generation in Chinese Art

# data[].attributes.attachment_link.readable_text
By Clarissa von Spee, Chair of Asian Art and James and Donna Reid Curator of Chinese Art and Katie Kilroy-Blaser, Curatorial Assistant

Installation view of gallery 240A. Image courtesy of the Cleveland Museum of Art.

In the past 100 years, China has changed dramatically, from imperial China to the Republic of China and then to Communist China under the leadership of Mao Zedong. After Mao's death and the end of the Cultural Revolution in 1976...

# data[].attributes.attachment_link.title
On View Now: Spotlight on a New Generation in Chinese Art

# data[].attributes.attachment_link.description
By Clarissa von Spee, Chair of Asian Art and James and Donna Reid Curator of Chinese Art and Katie Kilroy-Blaser, Curatorial Assistant In the past 100 years, China has changed dramatically, from imperial China to the Republic of China and then to Communist China under the leadership of Mao Zedong.

# data[].attributes.body
During AAPI Heritage Month, the CMA is sharing collection artworks to recognize the diverse histories within these communities. Let’s take a look at Chinese and Japanese musical instruments that are currently in the process of conservation with the assistance of Elena Mars who is finishing her third year of graduate school, earning her masters degree in objects conservation from SUNY Buffalo State College.

# data[].attributes.attachment_link.readable_text
By Elena Mars, CMA Conservation Intern During AAPI Heritage Month, the CMA is sharing collection artworks to recognize the diverse histories within these communities. Let's take a look at Chinese and Japanese musical instruments that are currently in the process of conservation with the assistance of Elena Mars who is finishing her third year of graduate school, earning her masters degree in objects conservation from SUNY Buffalo State College.

As part of my graduate internship in the conservation department at the CMA, I am contributing to an ongoing project to rediscover the Charles G King Jr. collection of musical instruments. These instruments were gifted to the CMA in 1918 by Ralph King, the first vice president of the museum, in memory of his father, Charles. The original goal of this collection was to show the evolution of string instruments through time and around the world. The instruments originate from a number of countries including Cambodia, China, the Democratic Republic of Congo, England, France, India, Italy, Japan, Madagascar, Saudi Arabia, and Tibet.

Currently, I am reviewing a group of mostly Chinese and Japanese instruments, many of which have not been displayed before. As these instruments are brought to the conservation lab, my role is to examine and document their condition, and to clean them in preparation for photography in the collection online, and for possible display.

Most of the instruments are dusty from long years in storage. Though the CMA storerooms today boast filtered air and carefully controlled environments, these objects have been moved around quite a bit in their long lives. In the Japanese koto below, careful dusting made a striking difference, revealing fine marquetry and tortoise shell inlay.

Koto, early to mid-1800s. Japan, Edo period (1615-1868). overall: 10.8 cm (4 1/4 in.). The Cleveland Museum of Art, The Charles G. King, Jr. Collection. Gift of Ralph King in memory of Charles G. King, Jr. 1918.383

Bugaku Biwa, early to mid-1800s. Japan, Edo period (1615-1868). overall: 85.8 cm; widest end: 31.5 cm. The Cleveland Museum of Art, The Charles G. King, Jr. Collection. Gift of Ralph King in memory of Charles G. King Jr., 1918.380.

Japanese lacquered biwa with support block.

Some of the instruments are damaged and require special handling. I worked with the CMA photography department to support the detached string holder and peg block of this Japanese lacquered biwa while capturing photos. We gently rested these elements on a support block to simulate the original appearance of the instrument.

Once the instruments are cleaned and photographed, I take detailed measurements and annotate the images. These records are an important part of properly documenting and caring for art and artifacts.

I also identify and label specific parts of the instruments, as I've done with this tanbur from the Islamic collection. Look for this instrument on view in the new Islamic gallery rotation, Art of the Islamic World in gallery 116 reopening today, May 21.

Tanbūr, late 1800s. Syria or Turkey, Ottoman period (1299-1922). Wood, bone, mother-of-pearl, and wire; overall: 58.4 x 10.5 cm. The Cleveland Museum of Art, The Charles G. King, Jr. Collection. Gift of Ralph King in memory of Charles G. King Jr., 1918.347.

These images and measurements were shared with CMA curators and the Metropolitan Museum of Art's emeritus curator of musical instruments, Ken Moore, to aid in their examination of the instruments. We then met virtually with Ken and CMA Director of Performing Arts, Tom Welsh, to "look" at the instruments together as much as we can while the pandemic hinders in-person visits. I also reached out to local experts like Roberta Muelheim, curator of vertebrate zoology at the Cleveland Museum of Natural History, to help identify natural materials like the string holder on this Chinese pi-pa, which turned out to most likely be bone, rather than ivory.

Pipa, 1800s. China, Qing dynasty (1644-1911)(detail). Wood; overall: 96.6 x 27.4 x 11.2 cm. The Cleveland Museum of Art, The Charles G. King, Jr. Collection. Gift of Ralph King in memory of Charles G. King Jr., 1918.344.

These conversations have expanded our understanding of the King collection and helped curators determine which instruments are representative examples that should be exhibited. Discovering that this pi-pa and qin are both excellent examples of instruments from their regions was a welcome revelation.

(Left) Pipa. (Right) Qin, 1800s. China, Qing dynasty (1644-1911). Wood; overall: 18.8 cm. The Cleveland Museum of Art, The Charles G. King, Jr. Collection. Gift of Ralph King in memory of Charles G. King Jr., 1918.371.

I was curious about the sound of these instruments, so I went to YouTube to find some examples:

The koto is a traditional Japanese instrument, played on a flat surface.

The biwa is another example from Japan, and is played held upright.

The tanbur is a traditional instrument in both Iran and Turkey. The tanbur in this video differs from the one I worked on, in that it has holes in the sound board, which changes how the instrument projects sound.

The pi-pa is a traditional Chinese instrument. It differs from many other instruments in that it has frets on the body and the neck. The CMA's pi-pa differs from the one in the video in the level of decoration, featuring foliate carved neck frets as well as decorative carved bone plates.

Finally, the qin in this video is quite similar to the one in the CMA collection. Similar to the koto, it is played on a surface rather than held. The mother of pearl disks along the side are used as markers for finger placement.

# data[].attributes.attachment_link.description
By Elena Mars, CMA Conservation Intern During AAPI Heritage Month, the CMA is sharing collection artworks to recognize the diverse histories within these communities. Let's take a look at Chinese and Japanese musical instruments that are currently in the process of conservation with the assistance of Elena Mars who is finishing her third year of graduate school, earning her masters degree in objects conservation from SUNY Buffalo State College.

# data[].attributes.body
Follow us on Instagram
Follow us on Twitter