"Ancient Art from the Shumei Family Collection" by Dorothea Arnold, the New York Metropolitan Museum of Art, and the Los Angeles County Museum of Art. NOTE : We have 75,000 books in our library, almost 10,000 different titles. Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). Were happy to send you a summary of the differing conditions and prices we may have for the same title.
Publisher : New York Metropolitan Museum of Art (1996). Size : 12½ x 9¼ x 1¼ inches; 3¾ pounds. Summary : The magnificent collection of ancient art celebrated in this volume is a selection of the holdings of the Shumei Family, a religious organization based in Japan. The emphasis, in the works included here, is on antiquities that originated in different areas of the ancient worldnamely, the Mediterranean, the Near East, and China. Although the objects are eclectic, and range from powerful to jewel-like in their delicacy, the quality of the works of art in the Shumei Family Collection shines through in every detail.
Whether we focus on the silver and gold cult figure of a deity from thirteenth-century-B. Egypt; Achaemenid silver vessels from fifth-century-B. Iran; or gold, bronze, and iron garment hooks, inset with gems and semi-precious stones, from third-century-B.China, their exquisite beauty and refinement never fail to dazzle the eye. Before the Shumei Family's Miho Museumdesigned by world-renowned architect I. Pei, and currently under construction in Shigaraki, a suburb of Kyotois inaugurated in the fall of 1997, and the works of art discussed here are permanently installed in their new home, The Metropolitan Museum of Art in New York and the Los Angeles County Museum of Art have welcomed the opportunity to introduce highlights of the collection to their respective publics. The credo of the founder of the Shinji Shumeikai centers around the belief that beautiful objects elevate the spirit and, therefore, that they were created to be shared. In keeping with this philosophy, both reader and museum visitor can take delight in the collection, savoring the treasures firsthand on exhibition and, concurrently, in the lavish color illustrations that grace these pages. The cogent texts represent the collaboration of a broad spectrum of curators, art historians, and conservators; more than twenty scholars examine the objects in detail and provide illuminating insights for the reader. An Appendix includes technical examinations of a number of the works as well as descriptions of their materials and methods of manufacture. A Selected Bibliography and an Index follow. New York Metropolitan Museum of Art (1996) 210 pages.
Book is new and unread, but the spine head is ever-so-faintly bumped. Though there's no evidence of the bump to the spine head (either the covers or the dustjacket), if you examine the book very intently, you'll see that a handful of the pages within the book have a very small, faint bend mark at the inside top corner echoing that bump. Also the very slight "bend mark" may be observed by inspecting the top surface of the closed page edges sometimes referred to as the "page block". While this blemish is very unlikely to be noticed unless attention is drawn to it, nonetheless, due diligence requires that we describe the blemish, regardless of how minute. Except for this, the outside of the book evidences only faint shelfwear.
Inside the book is pristine; the pages are pristine; clean, crisp, unmarked, (otherwise) unmutilated, tightly bound, unambiguously unread (although of course it is always possible it was flipped through a few times while on a bookstore display). Condition is entirely consistent with new stock from a bookstore environment wherein new books might show minor signs of shelfwear, consequence of simply being shelved and re-shelved.
PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. REVIEW : Dorothea Arnold is curator emerita, the Department of Egyptian Art at The Metropolitan Museum of Art. REVIEW : Shumei believes in the pursuit of beauty through art, appreciation of nature and "natural agriculture", a method of food cultivation. They also practice johrei, a type of spiritual healing.
Adherents of Shumei believe that, in building architectural masterpieces in remote locations, they are restoring the Earth's balance. Shinji Shmeikai was founded by Mihoko Koyama in 1970. She founded the organization to spread the teachings of Mokichi Okada. The head organization is currently based near Shigaraki, Shiga, Japan. The Miho Museum was commissioned by Mihoko Koyama, who was an adherent of Okada.Pei had earlier designed the bell tower at Misono, the international headquarters and spiritual center of the Shumei organisation. Mihoko Koyama and her daughter, Hiroko Koyama, again commissioned Pei to design the Miho Museum. The bell tower can be seen from the windows of the museum. Founders Hall was designed by Japanese-American architect Minoru Yamasaki. Directors' Foreword by Philippe de Montebello and Graham W.
REVIEW : The Shumei Family, a religious organization based in Japan, believes that Unless you make others happy, you can never be happy yourself. To this end they have collected art for the past 40 years. On the advice of I. Pei, the architect hired to design a museum for their holdings, they expanded their collection from primarily Japanese works to other areas of ancient art.
This catalog presents the non-Japanese part of the collection, which is on exhibit at the Metropolitan Museum of Art, New York, and the Los Angeles County Museum of Art this year. With only two Egyptian and two Roman pieces, the bulk of the small, elegant collection is from central and eastern Asia. However, as Spencer Tracy once said of Katharine Hepburn, What's there is cherce. The silver and gold Egyptian cult statue is unique, for example, and every item was very carefully selected to fit the collection in a manner reminiscent of ikebana flower arrangement. Technically, the color plates are sharp and beautiful, and the scholarship is impressive.Recommended for collections specializing in connoisseurship, Japanese studies, or ancient Asia. REVIEW : Published in conjunction with an exhibition held at The Metropolitan Museum of Art during 1996 and scheduled to travel to Los Angeles during 1997. The works are selected from the holdings of the Shumei Family, a religious organization based in Japan which holds to the belief that beautiful objects elevate the spirit and, therefore, that they were created to be shared (the group is currently constructing a new museum in Japan to house the collection).
The works included here antiquities from the Mediterranean, the Near East, and China are beautifully presented in color photos, with text by a broad spectrum of curators, art historians, and conservators. REVIEW : A Japanese Vision of the Ancient World.
Frail and in a wheelchair, Mrs. Koyama, an heiress to a textile fortune, moved quietly but with tornado force through the ancient art market. The antiquities and the tea ceremony artifacts are exhibited in the Miho Museum, a stone, steel, glass and concrete structure named after its creator and designed by I. Pei, in the town of Shigaraki, 20 miles east of Kyoto.
The cost of the land, art and building was about three-quarters of a billion dollars. The site is near the headquarters of Shinji Shumeikai, or Shumei Family, the religious group that Mrs.Koyama, now 88, founded in 1970. Its 300,000 members believe that contemplating beauty in art and nature brings spiritual fulfillment. Koyama's art collecting came after a conversation with Mr.
I'm afraid I'm partly to blame for Mrs. Koyama's shift in collecting, he said. I looked at the pieces she wanted in the museum and 90 percent were Japanese tea ceremony objects.
Since many museums in Japan have such collections, I wondered why people would come a long way to see this museum. Koyama had seemed to understand and asked him for suggestions."Why not turn your eyes to the West, " he said, not to the West of Van Gogh, but to the West which was a source for ancient Japanese art. Look West to Buddhism, to the Silk route, to ancient Greece, Rome and Egypt.
Koyama enlisted the help of Noriyoshi Horiuchi, a Tokyo dealer in ancient art who transformed her vision into a reality. Koyama and her daughter, Hiroko, to dealers like Giuseppe Eskenazi and Robin Symes in London and James J.
Lally and Edward Merrin in New York. Horiuchi preselected the works for Mrs. Koyama: Chinese bronzes, Sassanian silver vessels, Egyptian wood carvings, Roman mosaics and Persian lusterware.While confident in her choices, Mrs. Koyama, who speaks little English, relied on experts to confirm her judgment. "She didn't say much, a word or two, like'beautiful,''wonderful,''excellent,'" Mr. She didn't ask the history, the background or the price of the objects. When she admired a piece, said Mr. Eskenazi, the dealer, she expressed her great excitement by her wonderful benign smile. It was a smile he was to see many times as Mrs. Choosing the objects was easy for Mrs. What was difficult was authenticating the works.
The field of antiquities is plagued by forgeries and illegally excavated objects. Horiuchi was well aware of these problems. "We bought only from major dealers, " he said.
And we invited museum curators, scholars, collectors, restorers and dealers to look at the collection and urged everyone to tell us of any problems they saw. He also had all of the objects analyzed in museum laboratories, most of them by Pieter Meyers, the head of the Conservation Center of the Los Angeles County Museum of Art. Of the 300 pieces studied, 8 were not authenticated and were removed from the collection.Koyama and her daughter met with directors, curators and conservators from New York, Los Angeles, London, Paris, Berlin and St. Petersburg to arrange future loans of art works from the collection. In 1996, an exhibition of 80 works, "Ancient Art from the Shumei Family Collection, " opened at the Metropolitan Museum and later moved to the Los Angeles County Museum. Last November, the movers and shakers in ancient art gathered for the opening of the Miho. "Collecting art is an ancient tradition in Japan, " Mr.
As early as the eighth century, the Japanese received gifts of Persian art from Chinese emperors and continued to collect. Then, and once again now, the Japanese are eager to import art and knowledge from China and Europe. REVIEW : As a miscellany of arresting objects from the distant past, "Ancient Art From the Shumei Family Collection" at the Metropolitan Museum of Art is in a very high class.
As a reasoned survey of a particular point of view, on the other hand, it makes very little sense. What are we to make of an anthology that has exactly two items from the whole of ancient Egypt, three from ancient Rome and no fewer than eight examples of the memorably luxurious "garment hooks" (or hat, coat and umbrella stands) that were made in China more than 2,000 years ago? Admittedly, each of these garment hooks is quite unlike any of the others. Even so, this seems a classic case of imbalance. Be that as it may, one of the two Egyptian objects is presented as the flagship of the show.
And very arresting it is, too. A full-length seated figure, half man and half bird, from the 13th century B.It is made of solid-cast silver that was formerly almost entirely overlaid with sheet gold. The hair of the wig is overlaid with lapis lazuli, and the deep-set eyes are of rock crystal. Though only just over 16 inches high, it radiates authority. The human part of the sculpture is enviably lean, but when it comes to holding our attention it politely gives way to the really rather terrifying falcon head.
Above all, the rock crystal gaze stares us down, all the more so, perhaps, because the left eye was restored in 1970, when the piece was being looked after in a museum in Stuttgart, Germany. The collection is the work of a Japanese religious organization called the Shinji Shumeikai, or the Shumei Family.As a collection, it appears to have no strictly devotional element. On the contrary, secular objects of art are its specialty. Of its overall purposes, all that we learn from the catalogue is that the collection was initiated around 40 years ago, on the belief that unless you can make others happy, you will never be happy yourself. From this, few will dissent.
"Works of art" -- here I quote from the same source -- are not to be monopolized by the few, but shown for the delight of the many, that their spirits may be elevated. To give that elevation the best possible start, I.Pei was asked to design a museum in the mountains near Kyoto to house the collection. The museum, which is to open in the fall of 1997, will include the Japanese objects in the collection, none of which are on view at the Met. Meanwhile, very little is vouchsafed by any of the 22 contributors to the catalogue as to where, when and how the works were acquired.
But there is at least one masterwork that has been known since the early 17th century: an enormous carpet (19 feet 6 inches by 10 feet 6 inches) that was woven in Iran in the late 16th or early 17th century. Known as the Sanguszko carpet, after one of its former owners, it is in amazingly good condition.And it needs to be, given the brilliance of its color and the multiplicity of heterogeneous incident that spills this way and that over every square inch of available space. This carpet is a bookman's paradise. Literary echoes are everywhere, as are elements lifted from Islamic book design. But you don't need to be a scholar to decipher the tumultuous activities in which men, women and angels mingle with dragon, phoenix and peacock, to name just a few of the storytellers' resources. They don't just sit around, either. The catalogue tells of scenes in which dragons intertwine, while peacocks pair off and single animals and birds romp. It is the charm of this lopsided but consistently engrossing show that we never know what will come next. A recurrent ingredient is the truly monumental piece of jewelry, a specialty of the Achaemenid period in Iran. "If you have it, flaunt it" was the motto behind many of these pieces. A prize instance is the "bracelet with seated-duck terminals" from the sixth to fourth century B. The massive gold tubular body of the bracelet is impressive enough in itself. But when the two seated ducks were added, the piece took on another dimension.
The ducks are minutely simulated in gold, with lapis lazuli, turquoise, onyx, rock crystal and blue and white vitreous paste. Here and there, time has brought substantial damage. But the flamboyance of the overall gesture is something to marvel at.
In the Chinese section, which in terms of numbers amounts to half the exhibition, there are noble forms that have nothing to do with personal adornment. From the western Han period, for instance, or second to first century B. There are two weights in the form of coiled tigers.
These were not objects of delectation, but indispensable adjuncts to the idea of purity and simplicity in household design. Without those tigers, mats would curl up at the corners or slide around the room. Among other pieces of gratuitous but worthwhile information, the show tells us about the changing status of the chariot in China during the western Han period. To be precise, the chariot lost much of its military importance and became simply something to boast about. And sure enough, that loss of soldierly status is reflected in the group of gilt bronze chariot fittings.What began as a tiger with its mouth wide open and jaws at the ready turned in time into a tiger that looks sedated and had its mouth shut tight. If there is such a thing as a companionable tiger, here he is. But it would be unfair to take leave of this wonderfully peculiar show on a note of sedation. Violence, implied or immediate, is always round the corner, nowhere more so than in the rhyton, or drinking horn, made by a master silversmith in Iran or Central Asia in the first century B. This is a piece that, when filled, would quench even a raging thirst.
But its particular magic comes from the way in which the silversmith modulates from the plain curved surface to a minutely modeled terminal in which a caracal, or desert lynx, has its way with an unfortunate fowl. The eyes, the furry ears, the claws and the concentrated onslaught of the cat are wonderfully rendered. So is the plight of the fowl, with life already almost extinct and its feathers, comb and wattles in terminal disarray. "Ancient Art From the Shumei Family Collection" remains at the Metropolitan Museum of Art, Fifth Avenue at 82d Street, through Sept. The show then travels to the Los Angeles County Museum of Art Nov.REVIEW : There's a significant piece of cultural news embedded in the Los Angeles County Museum of Art's new exhibition Ritual and Splendor: Ancient Treasures From the Shumei Family Collection. It's a breathtaking, rare example of a holding selected with superbly refined taste, but it's even more. The 155 works on view encompass not only China and West Asia but Bactria, Greece, Rome and Islamic Iran. It's a virtually unprecedented instance of a Japanese compendium that includes master art from primary civilizations outside the Far East. Japanese museums have been notably tardy in acquiring such art so this collection--assembled in recent years--marks a symbolic new opening to fundamental aspects of Western history and culture.
A smaller selection of these works was seen earlier this year at New York's Metropolitan Museum. Its catalog serves the present presentation. After closing here the entire collection of some thousand objects will go on view late in 1997 in their permanent home, the new Miho Museum not far from Kyoto.The 83,000-square-foot structure was designed by the renowned architect I. The Shumei Family, not just incidentally, is not an ordinary domestic grouping. The name is a sobriquet for Shinji Shumeikai, which designates itself a worldwide spiritual organization dedicated to the pursuit of truth, virtue and beauty. All this provides Los Angeles the opportunity to see a treasures extravaganza realized by applying Japanese culture's traditionally exquisite, understated aesthetic sensibility to the West. As an experience it's extraordinarily piquant and gratifying. How often in the West, for example, does one encounter an exhibition where the first piece is an 8-inch-tall 7th century Greek bronze of a "Griffin Protome" that causes us to realize this tiny thing is worthy of acting as the curtain raiser for a blockbuster show? Refinement, defined in the most material terms, occurs when an object is worked with painstaking care over a long period to get it exactly right. The natural result of such action is that the object gets smaller.
The exhibition demonstrates repeatedly that smaller can be better. The Egyptian section opens with two 12th dynasty painted wood statues of a walking man. Stylistically they are almost identical except one is life-size, the other about 14 inches tall.The compacted form of the small one makes it more memorable. Its delicacy appeals to our sense of parental protectiveness.
Its utter lack of intimidation is comforting. Speaking of intimidation, pieces in sections on Bactria and early Iran are clearly related to one of history's scariest arts, that of ancient Assyria. Its monumental reliefs of winged bulls and warriors in the Louvre make Big Brother seem downright cuddly.Here the same motifs are used on golden goblets, delicate as foil. They lose nothing in expressive clout, except a certain pomposity. Most ancient art grew from a mind-set radically different from that of today's just-a-regular-guy-who-wants-to-get-along demeanor. Much ancient art intended to openly demonstrate superiority in physical strength, authority and wealth. A couple of Iranian silver drinking horns end in miniature sculpted images, one of a snarling lynx, the other a caracal cat attacking a fowl. The animals are pointedly depicted as symbols of ferociously ruthless, raw power. In addition to being more up front about man's animal character, ancient art had absolutely no inclination to make silly distinctions between decorative, fine and applied arts. The Japanese have wisely followed this kind of aesthetic openness and applied it here with brilliant result. Virtually every piece, such as a particularly splendid Chinese wine vessel from the Shang Dynasty or a stunning big Iranian carpet, is simultaneously a ritual object-of-use and a work of high art. The selection also demonstrates an early multiethnic interpenetration of these old civilizations through trade along the silk route.
Throughout one runs across, say, an Iranian silver vase whose nude dancing female figures recall Indian art or an Islamic ceramic whose painting style appears Japanese. For all this, the experience of "Ritual and Splendor" has a pleasant aura of clarity and simplicity. This is due, no doubt, to a combination of the selected objects and their deft installation by designer Bernard Kester. The impression is benignly misleading.The exhibition was some six years in the making and required the collaboration of LACMA's chief of conservation, Pieter Meyers, and three curators, Nancy Thomas, J. Keith Wilson and Linda Komaroff, among a small battalion of assistants. The larger lesson here is that anything can be art, and the only way to sort out what is is along the currently unfashionable lines of intrinsic quality.
REVIEW : A handsome publication, with fine color plates of superb works of art. REVIEW : A stunning visual feast of ancient art.
Really unique, exquisite artifacts, not your usual museum fare. REVIEW : The Miho Museum is located southeast of Kyoto, Japan, near the town of Shigaraki, in Shiga Prefecture.
The museum was the dream of Mihoko Koyama (after whom it is named), founder of the religious organization Shinji Shumeika, which is now said to have some 300,000 members worldwide. Furthermore, in the 1990s Koyama commissioned the museum to be built close to the Shumei temple in the Shiga mountains. The Miho Museum houses Mihoko Koyama's private collection of Asian and Western antiques bought on the world market by the Shumei organisation in the years before the museum was opened in 1997. While Koyama began acquiring stoneware tea ceremony vessels as early as the 1950s, the bulk of the museum's acquisitions were made in the 1990s.
There are over two thousand pieces in the permanent collection, of which approximately 250 are displayed at any one time. Among the objects in the collection are more than 1,200 objects that appear to have been produced in Achaemenid Central Asia. Some scholars have claimed these objects are part of the Oxus Treasure, lost shortly after its discovery in 1877 and rediscovered in Afghanistan in 1993. The presence of a unique findspot for both the Miho acquisitions and the British Museum's material, however, has been challenged. Many of the items in the collection were acquired in collaboration with the art dealer Noriyoshi Horiuchi over the course of just six years, and some have little or no known provenance.
In 2001 the museum acknowledged that a sixth-century statue of a Boddhisatva in its collection was the same sculpture which been stolen from a public garden in Shandong province, China in 1994. Highlights of the collections have been featured in traveling exhibitions at the Los Angeles County Museum of Art and the Metropolitan Museum of Art in 1996, as well as the Kunshistorisches Museum Wien in 1999. Mihoko Koyama and her daughter, Hiroko Koyama, commissioned the architect I. Pei to design the Miho Museum. Pei's design, which he came to call Shangri-La, is executed in a hilly and forested landscape.Approximately three-quarters of the 17,400 square meter building is situated underground, carved out of a rocky mountaintop. The roof is a large glass and steel construction, while the exterior and interior walls and floor are made of a warm beige-colored limestone from France the same material used by Pei in the reception hall of the Louvre. The structural engineer for this project was Leslie E. Pei continued to make changes to the design of the galleries during construction as new pieces were acquired for the collection. Pei had earlier designed the bell tower at Misono, the international headquarters and spiritual center of the Shumei organization. However this book is quite heavy, and it is too large to fit into a flat rate mailer. Rates and available services vary a bit from country to country. We package as well as anyone in the business, with lots of protective padding and containers. Unfortunately the contents of parcels are easily lost or misdelivered by postal employees even in the USA.
Please ask for a rate quotation. Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology.After my retirement however, I found myself drawn to archaeology as well. I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with.
Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia. The item "HUGE Ancient Art Shumei Japan Near East Central Asia Egypt Roman China Islamic" is in sale since Monday, September 4, 2017.This item is in the category "Antiques\Antiquities\Other Antiquities". The seller is "ancientgifts" and is located in Lummi Island, Washington. This item can be shipped worldwide.