work of Qi Baishi</a> (Chinese, 1864–1957) remains an inspiration to audiences worldwide. Blending expertly minimal brushwork with passages of abstraction, Qi changed the course of traditional Chinese painting. His ink paintings capture everyday scenes and familiar moments, evoking the essential beauty of nature and the joy of life’s simple pleasures.</p><p>In 1960, the de Young Museum presented a solo exhibition of Qi Baishi’s art in San Francisco, a recognition no other Chinese artist had previously achieved in the U.S. More recently, his paintings have set multimillion-dollar records as the most expensive Chinese artworks ever sold at auction. But throughout his lifetime, Qi maintained a down-to-earth sensibility rooted in his humble origins as a peasant carpenter — even as he rose to international prominence.</p><p>In addition to 40 memorable works on paper, Qi Baishi: Inspiration in Ink features interactive experiences and a display of correspondence from the artist to his patrons. These handwritten letters offer an intimate, personal view of the unassuming man whose innovative style ushered Chinese ink painting into the modern era.</p><p>“Qi Baishi’s long and storied life witnessed China’s dramatic passage from the Qing Dynasty to the new republic period and the rise of socialism,” says Fan Jeremy Zhang, Barbara and Gerson Bakar Curator of Chinese Art. “Renowned as the people’s artist, Qi declined to enjoy retirement; instead, he tirelessly explored ink art in his later years, aiming to share his love of nature among a wide audience and help them find enlightenment in everyday life.”</p><p><br></p>" itemprop="description" />

artist Nakatomi Hajime</a> (Japanese, b. 1974).</p><p>To meet the artist and hear about his insights and inspiration, please join us for a special talk by Mr. Nakatomi on Dec. 12, 2024.</p><p>The Asian Art Museum is home to one of the largest collections of Japanese bamboo art in the world, thanks to generous donations from collector Lloyd Cotsen (1929–2017), who encouraged contemporary bamboo artists through his sponsorship of the Cotsen Bamboo Prize. Today, this legacy lives on through The Next Generation Bamboo Art Prizes. Organized by Robert Coffland and Margo Thoma (and judged by a panel including the Asian Art Museum’s Associate Curator of Japanese Art Yuki Morishima), The Next Generation Bamboo Art Prizes celebrate and support the future of Japanese bamboo art. </p><p>Don’t miss the chance to see all five of the artworks awarded top honors in this year’s competition, including the Coffland Grand Prize, the Excellence in Tradition Prize, and the Excellence in Sculpture Prize. While three of the works will remain on view through Dec. 8, 2025, the other two will be shown for only three months.</p><p><br></p>" itemprop="description" />

sculpture by Kim Whanki</a>, <a target="_blank" href=https://www.mutualart.com/Organization/Asian-Art-Museum--San-Francisco/"/Artist/Lee-Gapchul/EBC708D690C76BB1">Lee Gapchul</a>, and Paik Nam June, as well as an arresting abstract painting by Korean <a target="_blank" href=https://www.mutualart.com/Organization/Asian-Art-Museum--San-Francisco/"/Artist/SoHyun-Bae/97F6D237AD9F4AAC">American artist SoHyun Bae</a>.</p><p>The moon jar, which Assistant Curator of Korean Art Yoon-Jee Choi calls “the pop star of Korean traditional art,” takes center stage in a section where past meets present, with a beloved, 350-year-old moon jar from the museum collection presented adjacent to two striking 2023 porcelain examples being shown for the first time. In another cross-generational moment, a circular installation of Goryeo dynasty ladles and spoons appealingly mirrors Gapchul’s 1996 photograph of utensils set around a dining table.</p><p>At the center of the exhibition are two 2023 paintings by <a target="_blank" href=https://www.mutualart.com/Organization/Asian-Art-Museum--San-Francisco/"/Artist/Etsu-Egami/E7A9E4C109FE46E0">Etsu Egami</a>, portraits of well-known Korean celebrities, also on view here for the first time. Regarding the inclusion of Egami, a Japanese artist, Choi notes: “These paintings reflect a global friendship; the artist and her subjects don’t speak each other’s language fluently, but they communicate through art. Collaboration within Asia creates another unique identity, especially for our generation. I think it’s an ongoing diasporic conversation, and my personal suggestion and answer is to embrace yourself. You don’t have to define yourself based on a nation; you just have to define who you are.”</p><p>“According to my title, I’m a curator of Korean art,” says Choi, “but I also work on Japanese and Chinese art, and my dissertation explores art-historical interaction between Japan and Korea. As we’re advancing into the new era of art history and consuming art, I think we have the power and responsibility to break away from our comfort zone and try to explore transregional, transmedia interactions. It invests a fresh interpretation and view into so-called traditional objects.”</p><p><br></p>" itemprop="description" />

artist Tsujimura</a> Shiro (b. 1947), curated by Associate Curator of Japanese Art Yuki Morishima.</p><p>In the alcove, a hanging scroll by Chuho Sou (1760–1838), the 418th chief priest of Daitokuji Temple in Kyoto, bears a three-character inscription reading Muichimotsu: “All things are nothingness.” The phrase is a Zen Buddhist reminder to free oneself from desire and attachments — an appropriate message for a tea gathering, and an intriguing thought to consider while enjoying the teahouse’s atmosphere of minimalist serenity.</p><p><br></p>" itemprop="description" />