Tomb figure: HORSE

China, Tang dynasty, 7th–8th c.. White earthenware with white and brown glaze. Ke 08926 / 1949, formerly Exner collection, Vienna

Design for an women's belt (obi)

Japan, meiji period, KI 10292-6

BASIN WITH ISLAMIC INFLUENCED SHAPE

China, Ming dynasty (1368–1644), Wanli period (1573–1619), 2nd half 16th c.. Copper with decoration in multicolored cellular enamel (émail cloisonné). Em 444 / 1949, formerly Exner Collection, Vienna

LIDDED VASE

Japan, Hizen, Edo period (1603–1867), 2nd half 17th c.

Porcelain with painting in muffle colors on Kakiemon-style glaze
Or 0966 / 1895, formerly Trade Museum, Vienna

BOWLS WITH QIANLONG PERIOD BASE MARK

China, Qing dynasty (1644–1911), Qianlong period (1736–95). Porcelain with “delicate yellow glaze”. Ke 08850-51 / 1949, formerly Exner Collection, Vienna

AVALOKITESVARA BODHISATTVA (Guanyin)

China, Ming dynasty, Wanli period (1573–1619), dated 1614. Buff earthenware with polychrome lead glaze, body parts unglazed. Ke 08687 / 1949, formerly Exner Collection, Vienna

AMIDA RAIGO (DESCENT OF BUDDHA AMITABHA) SCROLL

Japan, Muromachi period 1333–1573) 15th–16th c.

Gold and pigments on silk, mounted on silk
Or 3209 / 1892, formerly Heinrich Siebold Collection

RIVERBANK SCENE AT THE QINGMING FESTIVAL

China, ca. 1650. Copy after Zhang Zeduan (1085–1145) Silk, gouache, India ink, gold. HM 10166

Dyer's stencil (KATAGAMI)

Japan, 19th c.. Wave pattern, paper cut. HM 16806 / 8044, formerly Heinrich Siebold Collection, Vienna

TEA BOWL

Japan, Karatsu, Edo period (1603–1868), 17th c.. Stoneware with incised decoration (mishima) under dark gray glaze and white slip painting (hakeme), old gold lacquer repaired. Ke 06034 / 1909, purchased from the estate of Heinrich Siebold, Vienna

Ando Hiroshige (1797–1858)

100 FAMOUS VIEWS OF EDO: MOUNT ATAGO IN SHIBA

Japan, Edo period, 1857
K.I. 10522-007

LOTUS AND KINGFISHER (Scroll)

China, 1536 or 1596

Inscription: painted by Sun Zhi Zhang in the year
of the ape
Silk, gouache, India ink
Mal 132

SMALL TEAPOT

China, Qing dynasty (1644–1912), 18th c.

Copper with polychrome painted enamel, base mark from the Qianlong period (1736–1795)
Or 0853 / formerly Trade Museum, Vienna

SACRIFICERS

China, Ming dynasty (1368–1644), Chongzhen period (1628–1644), dated 1641. Bronze, gilded. Br 1343-44 / 1949, formerly Exner Collection, Vienna

BUTAI (monk with the hemp sack)

China, Fujian, Qing Dynasty, Kangxi Period (1662–1722)

Porcelain with white glaze (Blanc de Chine), Dehua ware
Ke 08806 / 1949, formerly Exner collection, Vienna

GROUP OF THE EIGHT IMMORTALS

China, Ming Dynasty (1368–1644), 15th–16th c

Bronze cast
Br 1416–1423 / 1949, formerly Exner Collection, Vienna

WAKIZASHI (short sword blade)

Japan, Edo period (1603–1868), 17th c.. Steel with sambonsugi hamon (three-cedar shaped temper line). Ei 0733 / 1949, formerly Exner Collection, Vienna

BOWL

China, Ming Dynasty (1368–1644), 2nd half 14th century

Carved reddish-black lacquer on wood base (so-called “Guri lacquer”)
La 220 / 1949, formerly Exner Collection, Vienna

NETSUKE (KATABORI), SIGNED ‘TADASHIKA’

Japan, Edo period (1603–1868), 19th c.

Representation of the Seven Propitious Gods as masks
Pl 0797

BOWL with imitated Chinese base mark of the Chenghua Period

Japan, Arita, Edo Period (1603–1868), 19th c.

Outside and inside different spiralling geometrical and plant-tendril patterns
Porcelain with cobalt-blue underglaze and iron-red and gold overglaze painting, Imari style
Ke 08912

Asia Collection

Curator: Mio Wakita-Elis

The MAK Asia Collection consists of around 25,000 objects from China, Japan, Korea and Vietnam dating from between the Neolithic period and the present; these represent a wide range of artistic and artisan output from Asia and simultaneously provide insight into the centuries-long reciprocal relationship between Asia and Europe. Like other collections of its kind, the MAK Asia Collection is itself a work of Orientalism: all of the objects collected here were selected by Europeans and thus represent European tastes.

Even though the Asia Department was established only 70 years ago, the MAK (formerly the Imperial and Royal Austrian Museum of Art and Industry) has, since its inception, possessed competency in the field of Asian arts and crafts, since it is and always has been impossible to represent European material history without making reference to works from Asia. By the year 1900, the MAK already owned an impressive collection documenting highlights from Asian cultures. The cornerstone for today’s overwhelmingly dimensioned Asia Collection was laid in 1907 with the takeover of the rich holdings of the former Imperial and Royal Austrian Museum of Trade. It was at that point in time that the extensive Japan Collection of Heinrich Siebold, as well, entered the MAK’s possession (then: Imperial and Royal Austrian Museum of Art and Industry)—he had donated it to the Museum of Trade in 1892.
Chinese porcelain, Japanese lacquer works, Japanese colored woodcuts (ukiyo-e) and Japanese printing stencils (katagami) are the central focuses of today’s Asia Collection.

The most important part of the collection—Chinese and Japanese ceramics and porcelain—contains extremely fine examples from various eras representing the richness of variation in East Asian ceramics from their beginnings onward. The focal point of these holdings corresponds to the golden era of this art form, which began in the 18th century. The most precious works represented in this segment of the collection include an early blue-and-white plate from the Yuan dynasty (1271–1368), tea ceramics from China and Japan, Chinese Kangxi-period porcelain (1666–1722) from the collection of August the Strong, and a porcelain painting showing Mount Fuji by Japanese artist Kawamoto Masukichi (1831–1907), a gift of the Japanese government to the museum following the Vienna World’s Fair of 1873.

The collection of high-quality Japanese lacquer works includes objects from as far back as the early 17th century and is particularly rich in examples from the Meiji period (1868–1912). Among this collection’s most outstanding objects is a fan-shaped lacquer painting by Ikeda Taishin (1829–1903).

The katagami collection of the MAK, at 10,000 objects, is one of the largest such collections worldwide. It provides an impressive overview of the production, coloring techniques and ornamental history of the katagami stencil, which since the 7th century has been regarded by the Japanese as a respected artisan tool for coloring leather, cloth and paper. A full 8,000 of the Japanese stencils collected here were part of Heinrich Siebold’s donation to the Imperial and Royal Austrian Trade Museum, which holdings passed into the ownership of the Austrian Museum for Art and Industry, today’s MAK, in 1907.

At around 4,200 pages, the collection of Japanese colored woodcuts is one of Europe’s major ukiyo-e collections and also one of the larger collection blocks at the MAK. The lion’s share of these works comes from private collections which entered the museum in the most diverse ways, including the collections of Anton Exner, Richard Lieben and Heinrich Siebold. The ukiyo-e collection of the MAK brings together works by around 200 artists from the late 17th to the early 20th century, including icons of Japanese art such as the landscape series 36 Views of Mount Fuji (Japan, ca. 1830) by Katsushika Hokusai (1760–1849) and pages from the series 100 Famous Views of Edo (1857) by Ando Hiroshige (1797–1858), which were of central importance to the development of European modernism.

Based on the hypothesis that Japanese comics—mangas—influence the development of today’s visual culture in a way similar to how ukiyo-e once did, the MAK Asia Collection is currently working on putting together a manga collection with the intent of using exemplary works to document the visual aesthetics of this mass phenomenon.

The museum presentation of the most outstanding objects of the Asia Collection, is since 2014 in a fundamentally new way. Selected artefacts from the collection are embedded in an artistic concept and design created specifically for the venue by the renowned artist Tadashi Kawamata, yielding profound insight into the art and cultures of East Asia. The MAK Permanent Collection ASIA: China – Japan – Korea is put on show on the ground floor of the museum, based in Kawamata's concept on permanent change and the play of light and shade.

Parts of the MAK Asia Collection are already accessible online. Alongside the collection of Japanese colored woodcuts (ukiyo-e), which has already been completely documented, nearly 500 arts and crafts objects from China, Japan, Korea and Vietnam are listed in the MAK’s collection database MAK Collection online.

Exhibitions

MAK Permanent Collection

ASIA

China – Japan – Korea

iCal Wed, 1.7.2020

MAK – Museum of Applied Arts