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* Indicates temporary
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Yellow Mountain: China's Ever-Changing Landscape
May 31, 2008–August 24, 2008
Arthur M. Sackler Gallery
Yellow Mountain (Mount Huang or Huangshan) is arguably one of the most beautiful mountains in China. For centuries artists have endeavored to capture the ever-changing appearance of the area. Their interpretations include seventeenth-century woodblock prints and mountainscapes created by monk-painters who either had traveled to or had lived in the wilderness surrounding Yellow Mountain during the late seventeenth and early eighteenth centuries. Paintings and prints of the mountain, whether done from nature or from memory by well-known and little-recognized artists, complete this look at the changing landscape of Huangshan.
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Seascapes: Tryon & Sugimoto
July 12, 2008–Jan. 25, 2009
Arthur M. Sackler Gallery
For the first time since the Freer Gallery of Art opened in 1923, works from its American collection will be displayed with works from outside the museum. A series of 22 pastels of the Maine coast, known collectively as "Sea Moods" (1915–16), by American landscape painter Dwight Tryon (1849–1925) will be on view at the Arthur M. Sackler Gallery, juxtaposed with six black-and-white photographs of the sea by contemporary Japanese photographer Hiroshi Sugimoto from his ongoing series "Seascapes." Separated by history and medium, the works are linked by a common subject—the sea—and document the perceptual activity of the artist as well as a natural motif. The formal resonances between these two series will encourage quiet contemplation and allow viewers to discern aesthetic connections between the diverse artworks on view throughout the Freer and Sackler galleries.
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Garden and Cosmos: The Royal Paintings of Jodhpur
October 11, 2008–January 4, 2009
Arthur M. Sackler Gallery
Newly discovered paintings from the royal collection of Jodhpur form the core of this groundbreaking exhibition of 61 paintings and a silk-embroidered tent. Never before exhibited paintings from the desert palace at Nagaur reveal the emergence of a uniquely sensuous garden aesthetic in the 18th century; these delightful images present royal pastimes and the divine exploits of Hindu deities Krishna and Rama. This exhibition explores the dramatic shift that occurred in 19th century Jodhpur, when paintings of yoga philosophy led to a sublimely minimal aesthetic; these startling images, 4 feet in width, are unprecedented in Indian art. Ten 17th-century Jodhpur paintings borrowed from museum collections in India, Europe, and the U.S. reveal the idiom from which the innovations of later Jodhpur painting emerged.
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Falnama: The Book of Omens
September 12, 2009—January 3, 2010
Arthur M. Sackler Gallery
Whether by consulting the position of the planets, casting horoscopes, or interpreting dreams, the art of divination was widely practiced throughout the Islamic world. The most splendid tools ever devised to foretell the future were illustrated texts known as the Falnama (Book of omens). Notable for their monumental size, brilliantly painted compositions, and unusual subject matter, the manuscripts, created in Safavid Iran and Ottoman Turkey in the sixteenth and early seventeenth centuries, are the center piece of Falnama: The Book of Omens. This is the first exhibition ever devoted to these extraordinary manuscripts, which remain largely unpublished, and sheds new light on their artistic, cultural, and religious significance. Falnama: The Book of Omens comprises some sixty works of art from international public and private collections and is accompanied by a multi-authored, fully illustrated catalogue.
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