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.
BORO
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
W200xD150xH230mm, China
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.
DIA130mm, Hong Kong
Something Old Something New
Collectible Jewellery Collection
L300xW300mm, China
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.
W35H85mm, China
No word is needed.
I know you want to bring me home.
VESSEL no VESSEL
by
Tetsuya Ishiyama
18 April – 3 May 2015 (Sat & Sun), 1– 6 pm
@
Unit Gallery, L5-23 JCCAC, Shek Kip Mei, Kowloon, Hong Kong.
This beautiful brush is made for cleaning the inside of the teapot. I am in love with the bamboo handle so I am using it for dusting my keyboard etc, but for the tea connoisseur it is an essential item for up keeping the teapot.
The brush is used to remove any small pieces of tea leaves, for picking up the moisture left in the pot. For cleaning the hard to get to places and to give a slight polish to the pot.
L180xW100xD20mm, Japan
A neat little gun which loads 3 rounds of elastic shots.
BANG BANG BANG
“I was five and he was six
We rode on horses made of sticks
He wore black and I wore white
He would always win the fight
Bang bang, he shot me down
Bang bang, I hit the ground
Bang bang, that awful sound
Bang bang, my baby shot me down”
W100xH100xD25mm, China
A figurine of a cute chubby girl holding her pekingese dog, she is no ordinary girl but A-Fu the giant child and what she is toying with is no pet dog but a fierce lion. She and her boy friend has been send to earth to protect us from beasts that has been threatening the villagers in ancient time. (It would seem that the human are a more a threat to the wild life today and they should turn around and offer them protection instead.)
Click here to see our other A Fu.
Mountain Folkcraft 
