Monday

Ikebana: Japanese Art of Flower Arrangement



Michigan Oriental Art Society
Sunday, November 10, 2013
St John Hospital-Oakland Education Center, 27351 Dequindre Rd, Madison Heights (between 11 Mile and 12 Mile Rds)
Social Time at 1:30 pm, Meeting at 2:00 pm.

IKEBANA
Demonstration by members of Ikebana International, Detroit Chapter




Ikebana is the Japanese art of flower arrangement. One of the traditional arts of Japan, it has been practiced for more than 600 years. It developed from the Buddhist ritual of offering flowers to the spirits of the dead. The first teachers and students were priests and members of the nobility. As time passed, ikebana came to be practiced at all levels of Japanese society. It is more than simply putting flowers in a container. It is a disciplined art form steeped in the philosophy of developing a closeness with nature.

Ikebana International is a worldwide nonprofit cultural organization founded in Tokyo, Japan in 1956 and today boasts over 8,000 members in more than 50 countries. Its members are dedicated to promoting mutual understanding and friendship between Japan and other countries through ikebana and other related arts of Japan. The Detroit Chapter was chartered in 1965. Meetings are held monthly, March through December, with ikebana workshops and an annual public cultural program in May. The Chapter’s web site is www.ikebanadetroit.org.

Tuesday

Alan Marschke Oriental Rug Gallery



Michigan Oriental Art Society
Sunday, October 13, 2013
Alan Marschke Oriental Rug Gallery, 92 Kercheval, Grosse Pointe Farms, MI 48236
Social Time at 1:30 pm, Meeting at 2:00 pm.

A Visit to the Alan Marschke Oriental Rug Gallery

The term ‘oriental rug’ usually refers to traditional hand-knotted carpets originating in the eastern Mediterranean and Middle East region. Carpets have been primary furnishings for settled and nomadic peoples in this area since early history, and the traditions of crafting of carpets for religious, decorative and utilitarian purposes were passed down through centuries. The Industrial Revolution revolutionized the ancient craft of carpet weaving. It drove a wedge between the artist and the material of her art. As recently as twenty years ago, conventional wisdom held that the great traditions of carpet weaving, bound as they were, for example, to the art of natural dyeing, were extinct, replaced in the early 20th century by a rush toward making "hand knotted" carpets in factory-like conditions, with the highest priority placed on uniformity of color, design, and dimension in accordance with a program rather than an artistic vision. Indeed, it is primarily through an understanding of materials, across a broad spectrum of skills, from handling of raw wool to the dyeing of yarn, to the active role of the weaver in interpreting design, that we discover this most cooperative of arts, the weaving of a whole carpet.

Today, less than a dozen small projects are encouraging villagers in remote rug-weaving areas to revive the long-forgotten craft. The projects are small, to be sure, sometimes yielding as few as a thousand one-of-a-kind area rugs. But the monies help some villagers build medical centers and schools. Reviving a lost art is not a simple matter, however. Before the art could take form, villagers had to learn crop production, first determining which crops would yield the most exquisite dyes. A special breed of sheep had to be raised to produce the wool for the yarn. Looms had to be fashioned, and all the while, villagers sought to revive Old World methods for spinning, dyeing and weaving. Then patterns were born - both ancient and new - to please today's buyers.

Alan Marschke, gallery owner and our speaker, knows textile history and how important this renaissance is. His 35-year passion for rugs has taken him to Washington, D.C., where he spent 20 years researching, attending classes, conferences and meetings at the Washington Textile Museum with the Washington Textile Group and the International Hajji Baba Society. Moreover, he is highly respected in his field - one of only five people in Michigan nationally certified as an Oriental rug appraiser by the Oriental Rug Retailers of America.



Driving directions
From northern suburbs – I-696 East to I-94 West (toward Detroit). Exit at Moross (next exit after Eastwood-Allard). Turn left onto Moross and drive approx. 3 miles to Kercheval Avenue. Turn right on Kercheval and drive 1 mile to the Hill shopping district. The Alan Marschke Gallery will be on the left side  (92 Kercheval). There are parking lots behind the buildings on the right as well as at the end of the shopping block.

From midtown Detroit – Take I-94 East and exit at Moross (next exit after Cadieux). Turn right at Moross and follow directions as above.

From downtown Detroit – Take Jefferson Avenue east to Fisher Road (approx 9 miles from downtown). Turn left on Fisher Road and proceed to Kercheval Ave (2nd traffic light). Turn right on Kercheval . The Gallery will be on the right in the second block (92 Kercheval).

Sunday

Bonsai – Todd Renshaw



Michigan Oriental Art Society

Sunday, September 8, 2013
St John Hospital-Oakland Education Center, 27351 Dequindre Rd, Madison Heights (between 11 Mile and 12 Mile Rds)
Social Time at 1:30 pm, Meeting at 2:00 pm

Bonsai – Todd Renshaw




In Japanese, the word bonsai (pronounced bone-sigh) simply means "tree in a pot." But in practice, bonsai can be both more complicated and more rewarding than its simple name implies. For many people, their first exposure to bonsai is the ones for sale in stores like Home Depot and Target. These mass-produced bonsai are usually poor examples of the true art form.

The greatest myth about bonsai is that they are a specific kind of tree that grows in twisted and dwarfed shapes all on its own, but the distinctive bonsai "look" is the result of many years of work. Bonsai is an art that requires unique horticultural techniques, (pruning, pinching of foliage, and wiring to shape branches), and an eye for "design;" (movement, balance, proportion). Bonsai are created to look like simplified/stylized versions of naturally growing, much larger trees in their various forms and environments.

Most of the techniques in use today are the result of generations of Chinese and Japanese refinement. The modern art form of bonsai began in China during the third century BC. Naturally dwarfed and twisted trees were collected from mountain tops and transplanted to pots for display. Gradually, techniques evolved to create and maintain the same effect on other types of trees. These first bonsai were sometimes shaped into abstract forms mimicking animals or Chinese written characters. During the cultural exchange between China and Japan of the twelfth century, the art came to the Japanese. It is in Japan that bonsai was refined to its current art form. Bonsai styled in the Japanese tradition are beautifully shaped, but must also look like naturally growing tree forms. Although Americans think of bonsai as a strictly Japanese endeavor, China, Japan and other parts of the world have all influenced each other and the current state of this evolving art.

Todd Renshaw will talk about all these issues and much more during his presentation. Todd is a past-president of Four Seasons Bonsai Club of Michigan, a Detroit-area organization dedicated to teaching bonsai.

Wednesday

Isamu Noguchi and Qi Baishi: Beijing 1930




Michigan Oriental Art Society
Sunday, May 19, 2013
St John Hospital-Oakland Education Center, 27351 Dequindre Rd, Madison Heights (between 11 Mile and 12 Mile Rds)
Social Time at 1:30 pm, Meeting at 2:00 pm.


We hope to see you at the May 19 meeting devoted to Japanese Woodblock Prints and a video showing of a BBC feature on Hokusai’s  “The Great Wave”. 


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PRIOR MEETING ANNOUNCEMENT

Michigan Oriental Art Society
Sunday, April 21, 2013
St John Hospital-Oakland Education Center, 27351 Dequindre Rd, Madison Heights (between 11 Mile and 12 Mile Rds)
Social Time at 1:30 pm, Meeting at 2:00 pm.

Isamu Noguchi and Qi Baishi: Beijing 1930
Natsu Oyobe, Associate Curator of Asian Art, University of Michigan Museum of Art

The career and work of the American sculptor Isamu Noguchi (1904–1988) have long been associated with Japan and India. Few people know, however, that Noguchi lived and studied in China during the formative years between his apprenticeship with the abstract sculptor Constantin Brancusi in Paris in the mid-1920s and his immersion in New York’s vanguard art circles in the 1930s. Isamu Noguchi and Qi Baishi: Beijing 1930 is the first large-scale exhibition to focus on the fruits of Noguchi’s six-month stay in Beijing (Peking) from July 1930 to January 1931. There he had the remarkable opportunity to study with the ink painter Qi Baishi (1864–1957), now considered one of the most important artists of twentieth-century China. The result of Noguchi’s encounter with Qi was a series of more than one hundred works in ink on paper later called the Peking Drawings. When these are seen side by side with contemporary paintings by Qi Baishi, as they are for the first time in this exhibition, they reveal the importance of China in Noguchi’s artistic formation. This talk will introduce the overview of the groundbreaking exhibition, which will open on May 18 at the University of Michigan Museum of Art.

Isamu Noguchi
Baby
1930
Hanging scroll, ink on paper
Gift of Sotokichi Katsuizumi
University of Michigan Museum of Art
1949/1.190




 
Qi Baishi
Daffodils
c. 1930
Hanging scroll, ink and color on paper
The Noguchi Museum