W310 X H470mm
Time flies, holiday is over and its time to welcome the Kitchen God to return from his trip to the Jade Emperor.
The Kitchen God will return today with his god friends, showing them the family who did good and those who did evil deeds. His friends will take notes and cast spells on the families before they return back to the Jade Emperor. What is best to welcome the guest who traveled all the way from heaven to your home but feast!
For the annual task of protection and reporting, the wood block print for the Kitchen God are dated with a calendar of that year. This particular print was for the year 1987.
Come to see the actual print and many others at the
New Year Print Exhibition
CHINESE WOOD BLOCK PRINT COLLECTION
3 new unique styled tee shirts are just in!
Come and try them out.
For those who were mesmerized by lobster wood carving, the artist Ryousuke Ohtake is having an exhibition of his new work in Toyko.
How I wish I am in Tokyo this weekend.
Shu-sake Chokou Ten
30.04.2015 – 06.05.2015
8F Art Gallery @ Tokyo Department Shibuya Flagship Honten
L60xW50xH40mm, Hong Kong
The pendent is of an abstract shape, it resembles a shell of a turtle. In ancient times, the turtle shell is a sacred object for the Chinese, not only is it used for fortune telling it also summarizes the knowledge of cosmology, time and space.
The Fabric of Life
The word boro means ‘patched together’ and here refers to the indigo-dyed patched-together garments of the Japanese rural population. Expensive cotton fabrics were reserved to the upper classes. As worn-out rags, they found their way cheaply into the hands of the peasants, who patched them together to create impressive garments of great aesthetic charm.
In their minimalist beauty, these recycled textiles stand not only for artistic creativity and the positive affirmation of the transitory nature of all existence, but also for respect for the natural material and the work of the hands.
The precursors of the boro textiles were the kesa, the garments worn by Buddhist monks, which were also patched together as the outward expression of the Buddhist ideal of poverty. Outstanding monks’ garments from the museum’s own collection have been incorporated into the boro exhibition.
By chance, I got to own a piece of boro, a futonji which became a wall hanging at home. Would have love to go to see this exhibition. If you are near Cologne please go to see the exhibition!
28 March to 2 August 2015
Museum für Ostasiatische Kunst Köln
This is no ordinary wine jar but one that is without a lid. One might wonder if all the wine has to be poured through the spout, but that will be a waste of wine. Turning the jar upside down there is a hole at the bottom, but would’t the water just fall out when the jar is turned around? The trick of the jar is built within the pottery, the hole a the bottom is extended by a tube which extends upwards to a height which is above the opening of the spout. The wine is trapped around the tube ready to be poured out.
The composition of the embroidery is based on a scene in the Beijing Opera – Return to Jing Zhou.
The story was set in the 3 Kingdoms Period,
WEI – led by East Han chancellor Cao Cao, adviser Sima Yi
WU – led by Sun Quan, adviser Zhou Yu
SHU – led by Liu Bei, general Guan Yu, Zhang Fei and Zhao Yun, adviser Zhu Ge Liang
Sun Quan and Zhou Yu (WU) set up a plan to get Liu Bei (SHU) to hand over his strong hold Jing Zhou. Sun Quan has a beautiful sister, to lure Liu into the trap, he proposed to Liu Bei for a marriage to his sister, a union of the 2 kingdoms. Liu Bei in return would have to go to WU for the wedding. This is a proposal Liu Bei cannot lightly turn down for the sake of his kingdom. Sun Quan however has no real intention of marrying his sister to his enemy, he would wanted to capture Liu Bei and and force him to hand over his kingdom. Luckily before Liu Bei’s departure, his wizard adviser Zhu Ge Liang see through the trick and handed 3 notes to Zhao Yun and asked him to escort Liu Bei to Wu. When Liu Bei crossed to Wu he opened the first note, it asked Liu Bei to visit the father in law of Sun Quan. Impressed by Liu Bei and thinking that a union of the 2 kingdoms is a good idea from Sun Quan, the in law asked for Sun Quan’s mother for her approval for the marriage. The empress dowager agreed and the marriage went ahead. Sun Quan found out he has lost his sister, set out to detained Liu Bei in Wu. Liu Bei opened the second note, it asked for a faked report that Jing Zhou was being attacked by now their common enemy Cao Cao (WEI). Having a great excuse, Liu Bei together with his newly married wife and his men left Wu for Jing Zhou. Sun Quan found out and had his general went after them. Liu Bei then opened his third note, in the note it asked him to leave the defense to his wife. Now in love with Liu Bei, the princess gave the general a hard time and refused to return to Wu. When Liu Bei returned to Jing Zhou, Sun Quan’s army was confronted by Liu Bei’s general Zhang Fei and badly defeated.
A common Chinese phrase came from the story, 賠了夫人又摺兵 (not only losing the girl but the battle as well) – something similar to the phrase “throw the helve after the hatchet”.
Click here to see our wood block prints which also depicted the same opera.
No word is needed.
I know you want to bring me home.
VESSEL no VESSEL
18 April – 3 May 2015 (Sat & Sun), 1– 6 pm
Unit Gallery, L5-23 JCCAC, Shek Kip Mei, Kowloon, Hong Kong.