The Asian Art Museum holds one of the most comprehensive collections of Asian art in the world. Spanning 6,000 years, its scope and breadth enables the museum to provide an introduction to all the major traditions of Asian art and culture. Well-known in the scholarly world, the collection contains rare and exceptional objects which are often referenced in journals and textbooks.

The collection includes approximately 17,000 objects ranging from tiny jades to monumental sculptures, paintings, porcelains and ceramics, lacquers, textiles, furniture, arms and armor, puppets, and basketry.

The museum also presents a vigorous program of special exhibitions in its first floor galleries and in the Tateuchi Gallery on the second floor.

To learn more, follow these links:

9 Responses to “Art”

  1. CHAUNCEY PETER LOWE  on June 20th, 2009 at 3:56 am

    I have donated numberous “ding: porcelain from the song dynasty from 1997-2000 (?) May I have that list that is registered (on record) from you…thanks , Chauncey p. Lowe

  2. cristina  on June 22nd, 2009 at 1:41 pm

    Mr. Lowe: Thanks for visiting the blog! I will send the list of your donations directly to your email address today. Best.

  3. Paul  on November 22nd, 2010 at 9:34 am

    I just visited the museum weeks ago and notice item#B60P1425 seems like “doucai” to me instead of famille rose.

  4. JessieZee  on October 10th, 2011 at 3:10 pm

    I was wondering who curates the permanent collection? I can’t seem to find out anywhere on the main museum website. Specifically I was wondering who curated the “Japan” gallery of the permanent collection.

  5. Zhou  on October 12th, 2011 at 11:36 am

    Is there an item called Yinfujin in the collection? It was written by Chu Suiliang of Tang dynasty? Thanks

  6. Free  on January 6th, 2012 at 6:44 pm

    I recently attended the excellent Maharaja: The Splendor of India’s Royal Courts exhibit with some friends and we all agreed that the explanatory signage was problematic. There were three major problems with the signs:
    1. They were too small
    2. They were placed too low and too close to the exhibits.
    3. The background color of the sign was often a problem. (i.e white letters on a bright yellow background)

    These problems we observed are typical of the results one obtains when people trained in the visual arts attempt to create informational graphics. Unless they are properly supervised, visual artists have a tendency to sacrifice legibility, accessibility and clarity for visual appeal.
    In addition, a misguided attempt to comply with ADA laws may have contributed to the problem.

    Because the signs were small and located excessively close to the items on exhibit, people tended to stand directly in front of the sign for extended periods, which often resulted in the blockage of other patron’s view of the item on displayed. A much larger sign located above the item would have been readable by several people simultaneously without blocking anyone’s view of the often small items on display. There is no good reason why an explanatory sign should be unreadable if the viewer is located more than three feet from the sign. Most museum visitors would prefer to be able to easily read the signs comfortably rather than appreciate the resident graphics artist’s subtle, tasteful small signs.

    The low vertical position of the signs caused neck strain for taller patrons. Again, larger signs located above the items would have prevented this problem. If the low position is required for ADA compliance, then a second sign should be made available for taller people. Not all disabled people are short or use wheel chairs. For people with back problems an excessively low level sign is inaccessible.

    I was aware that a booklet with large print printouts of the signage text was available, but that was an inadequate substitute for well designed signs. Most people did not notice that the booklets were available.

    To improve future signage I recommend the following practices:
    1. Do not allow a young graphic artist with perfect eyesight to make final signage decisions.
    2. Test the signs with people of a variety of sizes, ages and visual acuity to insure that the signs are readable for all.
    3. Locate the signs above, or far enough away from, the item being displayed so that a person reading the sign does not block the view of the item.
    4. Do not use fonts or backgrounds that impede legibility.

  7. janet  on January 11th, 2012 at 11:50 am

    Thanks for your extensive feedback on the signs in Maharaja, Free. It’s really useful to get your perspective. I will pass it on to the relevant teams here at the museum so they can keep this feedback in mind when designing future exhibitions.

  8. Nancy  on January 13th, 2012 at 4:26 pm

    What an insightful analysis of the museum’s wall text. I usually use the informational booklet as I don’t want to add to the crowd of people clustered around the signs and (often) the exhibits. I never thought about all the specific points that “Free” raised but now that they have been brought up, I realize that many of them – especially the lack of readability – has bothered me.

  9. janet  on January 18th, 2012 at 11:47 am

    Thanks Nancy, it’s useful to know that this is something regular visitors are noticing, too.

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