ARTWORK OF ASIA; Gainesville's Harn Museum Steps Up with Its Ambitious Cofrin Asian Art Wing

By Patton, Charlie | The Florida Times Union, March 31, 2012 | Go to article overview

ARTWORK OF ASIA; Gainesville's Harn Museum Steps Up with Its Ambitious Cofrin Asian Art Wing


Patton, Charlie, The Florida Times Union


Byline: Charlie Patton

GAINESVILLE | Visitors to the Harn Museum of Art on the University of Florida's campus will get a first look today at the Harn's latest addition: the 26,000-square-foot Cofrin Asian Art Wing, built to house the Harn's collection of nearly 2,000 works of Asian art.

The 6,000 square feet of exhibition space in the new wing more than triples the exhibition space previously available for the Asian art and will allow about 680 art works to be displayed at any one time, said Jason Steuber, Cofrin curator of Asian art. The new wing will make the Harn "one of the leading centers for the study of Asian art in the Southeast," said Rebecca Nagy, the Harn's director.

The new addition is entered through the Axline Gallery, part of the old building. That gallery now houses the Harn's collection of Asian ceramics, as well as a collection of 96 Kogo incense boxes, used by the Japanese as part of an elaborate ceremony that combined the ritual burning of incense with the reading and writing of poetry. The small, playful boxes should be particularly attractive to children, Steuber said.

The ceramics, which came from Japan and China in the far east and from Persia in central Asia and moved back and forth along the Silk Road, serve as a symbolic transition from the rest of the Harn to its Asian wing, Steuber said.

Once inside the central and largest gallery of the new wing, a visitor encounters a display of religious statues from China, India, Japan and Thailand. On the left side of the central gallery, Chinese jade and glass from the Ming (1369-1644) and Qing (1644-1911) dynasties are displayed. On the other side of the central gallery are two small focus galleries, one devoted to Indian and Japanese masks and the other to Tibetan and Nepalese works from the Himalaya region.

There are two smaller galleries off the central gallery.

One houses "Traditions and Modernities," paintings and prints from China, Japan and India. In each, artists of the 19th and 20th centuries wrestle with issues of how to square tradition with modern life. The Chinese works now hanging show female artists beginning to emerge against a male-dominated artistic culture. The Japanese works date from the years immediately after World War II. Most of them look to the past, to a less complicated time. Most of the Indian pieces currently on display are by Jamini Roy (1887-1972), a modern artist who chose to use an anachronistic style.

The other small gallery houses the wing's Korean art. Much of that art was given to the University of Florida by James Van Fleet, who commanded the U.S. 8th Army and United Nations forces during the Korean War. When he retired in 1953, Van Fleet was called "the greatest general we ever had" by former president Harry Truman. In 1988, Van Fleet gave his collection of Korean art to the university where he had served as head football coach in 1923 and 1924.

Among the treasures in the Korean gallery are a gilt wood Bodhisattva (a Buddhist term for someone who is enlightened) dating from the 17th century, and a scroll painting by Kim Hong-do from the 18th century. …

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

ARTWORK OF ASIA; Gainesville's Harn Museum Steps Up with Its Ambitious Cofrin Asian Art Wing
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.