Reinterpreting the Korean Moon Jar
28 February - 13 July 2014
An installation by Korean artist Hyosun Kim within the Korean Gallery at the Oriental Museum.
The moon jar is one of the most iconic forms found in traditional Joseon Dynasty Korean art. The difficulty involved in creating the perfect ‘moon’ shape makes the moon jar a technical as well as an artistic challenge for the ceramic artist.
In this series of work Hyosun Kim explores how risk taking in the production of moon jars can produce ‘failure’ pieces that are aesthetically pleasing. Three series of jars explore the form, history and making processes. Kim explores the creative potential for taking risks during the making process and engages with the ways that technical problems in the making might lead to ‘failures’ that can be harnessed artistically to create works of great beauty.
The Happy Carp: New Japanese Works in Durham
Open until 30 March 2014
‘The Happy Carp’ takes its name from a woodblock print by the UK-based Japanese printmaker, Nana Shiomi. This exhibition showcases modern Japanese prints recently acquired by the Oriental Museum with the support of the Art Fund’s RENEW programme. Visitors have an opportunity to see the best in contemporary Japanese print-making and to gain an understanding of the range of techniques used by modern artists working in this most traditional of Japanese media.
This exhibition is part of Japan400, a series of events marking the first official encounter between Japan and Britain in 1613. To find out more visit the Japan 400 website or follow Japan400 on Twitter or Facebook.
Traces and Revelations
4th April 2014 to 5th October 2014
An exhibition of paintings by internationally renowned, pioneering Palestinian artists, Hazem Harb and Mohammed Joha.
Over the past 10 years, Hazem Harb and Mohammed Joha’s concepts and ideas have encompassed themes of war, loss, trauma, human vulnerability, global instability and placement and displacement. Both artists integrate the question of Palestinian identity into the more universal message of their work.
This exhibition seeks to evoke intense emotions and present an arresting, haunting portrait of a particular place and its multi-layered histories and facts, finding a new way of understanding human protest.
Traces and Revelations opens up an imaginary, parallel space in which to consider ideas of place, identity and belonging.
The copper plates from Kollam: using a 9th century legal document to explore the medieval Indian Ocean World
6th January to 27th April 2014
This exhibition focuses on a set of copper plates which are a multi-lingual legal document, inscribed at the port of Kollam in present-day Kerala in 849 CE. In South Asia, even until very recently, legal documents were inscribed onto copper sheets. Known as copper plate grants, these are one of the main sources for early and medieval Indian history. Although the Kollam plates have been known to European scholars since the early 19th century, they are so complex to read that they had never previously been studied as a single document. This interdisciplinary project undertook the first holistic study of this exceptional source, using it as a starting point for exploring the medieval Indian Ocean world.
The exhibition is touring around a number of universities in the UK, US and India. The exhibition consists of four pop-up banners and a leaflet that visitors can take away with them.
Image: Three of the 9th century copper plates from Kollam. Photograph of the plates reproduced courtesy of M. Raghava Varier and Kesavan Veluthat with kind permission of His Grace the Most Reverend Dr. Joseph Mar Thoma Metropolitan, Mar Thoma Syrian Church of Malabar, and His Holiness Basileus Marthoma Paulose II Catholicos of the East and Malankara Metropolitan, The Malankara Orthodox Syrian Church