Growing up in China in an era of Western infusion, I have become increasingly interested and aware of the mass transformation brought by the Open Door Policy in the late 1970s. It is the Buddhist idea of lunhui deeply rooted in the traditional Chinese outlook on the world that prompted me to investigate in the parallels of China in the Tang Dynasty and today in this exhibition, after a semester of studying Chinese Buddhist Art. The degree of similarity between China during the Tang Dynasty and today is extremely high, especially in terms of local development and cosmopolitanism, extensive cultural exchange and economic trade with other civilizations, all of which is secured by the centralization of governmental power. Thus I intend to explore this special connection to provoke critical thinking and

create a dialogue on the socio-political impact of globalization in modern day China, through the visual representation of Tang buddhist imagery.

Whereas in the Tang dynasty the Silk Road and various maritime routes dynamically connected China to the rest of the world, the basis of economic trading in China today is transformed by modern tech-nology. The rapid development in China has hence created various new opportunities for the locals, foreigners, as well as expatriates. However, the tide of globalization is also constantly challenging traditional values and creating numerous new social issues. Commercialization, the flourishing of copy-culture, materialism, increasing poor-rich gap are just a few of these problems addressed in this exhibition. It is therefore important for the (Chinese) audience to think about how to adjust to this rapid infusion of western culture and how to balance their own heritage with the new influences from from abroad. Ending with an installation that provokes contemplation beyond the seeingly harmoneous socio-political situation in China, the exhibition brings the viewer back to the question of where in the cycle of lunhui we are today, if history indeed repeats itself.

One unique aspect of this exhibition is that traditional Buddhist imageries are placed in an unexpected context, abandoning the usual cosmetic assistance of sophisticated lighting, fine-fabric backdrops, various mounting devices, barriers and cabinets that elevate the works beyond the reach of the audience. It is my intention to disrupt the audience’s expectation of a museum as an authority for knowledge, leaving enough space for their own imaginative, contemplative and critical experiences. All ten installations in this exhibition are presented in an approachable fashion, inviting the viewer to jump out of the museum context and rationally read into the socio-political impact of globalization in China today.

Kirsty Fnag Dec 5, 2009

Preface

Growing up in China in an era of Western infusion, I have become increasingly interested and aware of the mass transformation brought by the Open Door Policy in the late 1970s. It is the Buddhist idea of lunhui deeply rooted in the traditional Chinese outlook on the world that prompted me to investigate in the parallels of China in the Tang Dynasty and today in this exhibition, after a semester of studying Chinese Buddhist Art. The degree of similarity between China during the Tang Dynasty and today is extremely high, especially in terms of local development and cosmopolitanism, extensive cultural exchange and economic trade with other civilizations, all of which is secured by the centralization of governmental power. Thus I intend to explore this special connection to provoke critical thinking and

create a dialogue on the socio-political impact of globalization in modern day China, through the visual representation of Tang buddhist imagery.

Whereas in the Tang dynasty the Silk Road and various maritime routes dynamically connected China to the rest of the world, the basis of economic trading in China today is transformed by modern tech-nology. The rapid development in China has hence created various new opportunities for the locals, foreigners, as well as expatriates. However, the tide of globalization is also constantly challenging traditional values and creating numerous new social issues. Commercialization, the flourishing of copy-culture, materialism, increasing poor-rich gap are just a few of these problems addressed in this exhibition. It is therefore important for the (Chinese) audience to think about how to adjust to this rapid infusion of western culture and how to balance their own heritage with the new influences from from abroad. Ending with an installation that provokes contemplation beyond the seeingly harmoneous socio-political situation in China, the exhibition brings the viewer back to the question of where in the cycle of lunhui we are today, if history indeed repeats itself.

One unique aspect of this exhibition is that traditional Buddhist imageries are placed in an unexpected context, abandoning the usual cosmetic assistance of sophisticated lighting, fine-fabric backdrops, various mounting devices, barriers and cabinets that elevate the works beyond the reach of the audience. It is my intention to disrupt the audience’s expectation of a museum as an authority for knowledge, leaving enough space for their own imaginative, contemplative and critical experiences. All ten installations in this exhibition are presented in an approachable fashion, inviting the viewer to jump out of the museum context and rationally read into the socio-political impact of globalization in China today.

Kirsty Fnag Dec 5, 2009

How has global trade evolved over the years?

Where do we really belong?

Boston, USPhilidelphia, US

Kansas City, USLondon, UK

Toronto, Canada

Yi Xian, He Bei, China

Where is it better for us?

What determines the real value?

Is there a price for everything?

What is fake and what is authentic?

What more can we pray from the Bodhisattva?

Two states of emptiness,

One cruel reality for the poor.

What happened to our taste?

Can our traditions withstand the impact of Westernization?

What is our new identity?

Is this real harmony? What happened next?

List of Images

Horses and Persian FiguresTang DynastyThree-color glazeHouse H 71.1cm, Persian H 60.6Yurinkan Museum, Kyoto

Merchant on a CamelLate 7th c. H 89.7cm, L 26.5 cmUnearthed in 1954 in the tomb of Wang Chen, ChangzhiNational Museum of Chinese history

Camelmid 7th centuryPainted earthenwareH 31.7 cm, L 25.2 cm, W 16.6 cm Unearthed in 1986 from the tomb of Princess Changle (d. 643), Zhaoling MausoleumThe National Museum of Chinese history

1. Global Trade

Camel driver on crouching camelTang dynasty (618-907), c. 742Earthenware with pigmentsCamel driver: height 32.5 cm, length 32.5 cmCamel: height 48.5 cm, length 32.5 cmExcavated from the tomb of prince Li Xian at Sanhecun, Puchengxiang, Shaanxi province, 2000Shaanxi Provincial Institute of Archeaology

Macbook Pro with Alibaba webpage2009purchaced from www. apple.com

2. Expatriates Museum of Fine Arts, Boston Nelson-Atkins Gallery, Kansas City

University of Pensylvania Museum, Philidelphia

Luohan, originally from Yixian, Henan, China

University of Pensylvania Museum, Philidelphia

Royal Ontario Museum, Toronto British Museum, London

Head of buddha from Jingshansi Cave, LongmenDated 649-669 LimestoneH 58 cm Osaka Municipal Museum of Art

Buddha Ratnasambhavaca. 760Marble with traces of polychrome and gildingH 67.5cm Excavated from the site of the Da Anguo monastery in Xi, an, Shaanxi province, 1959Xi’an Beilin Museum

3. Commercialism

Head of buddha from Fengxianxi Cave, Longmen8th century LimestoneH 44.3 cm Osaka Municipal Museum of Art

Hanging Heads #2 (Blue Andrew with Plug/White Julie, Mouth Closed)Bruce Nauman (American, born 1941)1989. Wax and wire, Two heads 27.3 x 24.2 x 19.7 cm and 26.7 x 22.2 x 18.4 cm, suspended approximately 72 3/4” (185 cm) above the floor. Museum of Modern Art

Head of AthenaLate 3rd to 2nd BCMarble H 48.26cmThe Metropolitan Museum of Art

Head of buddha from Jingshansi Cave, LongmenDated 649-669 LimestoneH 58 cm Osaka Municipal Museum of Art

Bodhisattvalimestone with traces of polychromeTang dynasty, 725/50157.5cm high Art Institute of Chicago

Bodhisattvaslimestone with traces of polychrome2009 157.5cm high Various antique markets in Beijing

4. Copy Culture

Bodhisattvac. 750- 850hollow lacquer with traces of pig-ments and cut goldH 44 cmThe Cleveland Museum of Art

Maneki Neko 2009 plastic with fake gold paint H 20cm Asian Market

Burberry Tote and Vaious Luxury Items 2009 Saks Fifth Avenue, Neiman Mar-cus, Bergdorf Goodman

5. Materialism

Seated Buddhaca. 650

Dry lacquer with traces of gild and polychrome,

H 96.5 cmMetropolitan Museum of Art

Seated Beggar with Tin2009

Live installation H 92.7 cm

Originally discovered at cross bridge in Wangfujing, Beijing

6. Poor-rich Gap

Figure of Woman Holding Pekingese8th centuryEarthenware with pigmentsH 48.8 W 18Kyoto National Museum

Female Figure in Silk Gown and ScarfLate 8th centuryPainted earthenwareH 48 cm Xi’an Institue of Cultural Relics and Archaeology

Ladyc. 730Earthenware with pigmentsH 41 cm Qingcheng District Museum

Court Ladyc. 742Earthenware with pigmentsH 74.5 cm Shaanxi Provincial Institute of Archaeology

Ladyc. 730Earthenware with pigmentsH 41 cm Qingcheng District Museum

7. Shift in Beauty Standards

They are Coming Yang Mian2007

Reconstruction of Buddha Bar2009 Reference: http://lh6.ggpht.com/_M4pKp5dsDDs/SKvD-cZ5pm5I/AAAAAAAACRo/gUzSB6xrTRE/P1030398.JPG

8. Western Infusion

9. What is our identity?

Peking Opera Mask 2009 Wood with acylic paint L 30cm

Chinese Classics Collection2009 H 45cm

Wire Sculpture Head Alexander Calder L 30cm

Seated Bodhisattva with one leg pendentSandstoneCave 14, Tianlongshan Grottoes, Shanxi ProvinceH 139.4cm Tang dynasty, 8th century Tokyo National museum

Kowtowing official Earthenware with pigmentsH 20cm, L 61cm, W 33cmExcavated from a tomb at Sanyuanxian, Shaanxi Province, 1985Sanyuan District Museum

Two Guardian kingsc. 718Earthenware with pigmentsH 121 cm and 129cm Excavated from the tomb of Li Zhen at Xin-glingcun, Liquanxian, Shaanxi Province, 1972Zhaoling Museum

Seated Buddha (Head restored)sandstoneTianlongshan Cave 21Sackler Museum, Harvard

Replica Dragon Seat 2009Gilded Leather and wood PanjiayuanAntique Market, Beijing

10. Creating a Harmonious Society

He Xie (Harmony)2009Silkscreen H 75 cm

Black Silk Veil2009Thin Silk eBay

Bibliography

China in an era of transition understanding contemporary state and society actors. New York: Palgrave Macmillan, 2008. Print.

Fei, Dawei. '85 New Wave: the birth of Chinese contemporary art. Shanghai renmin chubanshe, 2007. Print

Fred, Wilson,. Fred Wilson speak of me as I am : the United States Pavilion, 50th International Exhibition of Art, the Venice Biennale, Venice, Italy. Cambridge, Mass: List Visual Arts Center, Massachusetts Institute of Technology, 2003. Print.

Knight, Nick. Imagining globalization in China: debates on ideology, politics and culture. Cornwall: MPG Books Ltd, Bodmin, 2008. Print.

Rastelli, Sabrina. China at the court of the emperors : unknown masterpieces from Han tradition to Tang elegance (25-907). Florence: Fondazione Palazzo Strozzi, 2008. Print.

The Glory of the Silk Road Art from Ancient China. Annapolis: Dayton Art Institute, 2003. Print.

The Silk Road and The World of Xuanzang. Osaka: Asahi Shinbun, 1999. Print.

Thompson, Barbara. Fred Wilson : So much trouble in the world-- believe it or not! Hanover, N.H. : Hood Museum of Art, Dartmouth College : Distributed by UP of New England, 2006. Print.

Vollmer, John. Silk roads, China ships. Toronto, Ont: Royal Ontario Museum, 1983. Print.

Bibliography

China in an era of transition understanding contemporary state and society actors. New York: Palgrave Macmillan, 2008. Print.

Fei, Dawei. '85 New Wave: the birth of Chinese contemporary art. Shanghai renmin chubanshe, 2007. Print

Fred, Wilson,. Fred Wilson speak of me as I am : the United States Pavilion, 50th International Exhibition of Art, the Venice Biennale, Venice, Italy. Cambridge, Mass: List Visual Arts Center, Massachusetts Institute of Technology, 2003. Print.

Knight, Nick. Imagining globalization in China: debates on ideology, politics and culture. Cornwall: MPG Books Ltd, Bodmin, 2008. Print.

Rastelli, Sabrina. China at the court of the emperors : unknown masterpieces from Han tradition to Tang elegance (25-907). Florence: Fondazione Palazzo Strozzi, 2008. Print.

The Glory of the Silk Road Art from Ancient China. Annapolis: Dayton Art Institute, 2003. Print.

The Silk Road and The World of Xuanzang. Osaka: Asahi Shinbun, 1999. Print.

Thompson, Barbara. Fred Wilson : So much trouble in the world-- believe it or not! Hanover, N.H. : Hood Museum of Art, Dartmouth College : Distributed by UP of New England, 2006. Print.

Vollmer, John. Silk roads, China ships. Toronto, Ont: Royal Ontario Museum, 1983. Print.