Power and Protection: Islamic Art and the Supernatural

Posted on November 17, 2016 by francescal

Exhibition dates: 20 October 2016 to 15 January 2017

Sainsbury Special Exhibition Galleries | Book tickets

Power and Protection poster

The Ashmolean autumn exhibition, Power and Protection: Islamic Art and the Supernatural, is now open until 15 January 2017.

It looks at Islam’s attitudes towards the range of practices designed to predict one’s destinies and harness hidden forces for good luck and protection. The objects selected span from the 12th century to the present day, and were produced in a vast area stretching over three continents, from Morocco in the west to China in the east, and from Turkey in the north to Indonesia in the south.

Jar with Signs of the Zodiac Iran, early 13th century, Fritware, painted in lustre over the glaze, Diam. 18.5 cm Presented by Sir Alan Barlow, 1956. Ashmolean Museum (EA1956.58) © Ashmolean Museum, University of Oxford

Jar with Signs of the Zodiac
Iran, early 13th century, Fritware, painted in lustre over the glaze, Diam. 18.5 cm
Presented by Sir Alan Barlow, 1956. Ashmolean Museum (EA1956.58)
© Ashmolean Museum, University of Oxford

The exhibition is divided into three distinct but interconnected parts. The first gallery, titled ‘Interpreting Signs’, explores four types of divinatory techniques. It begins with astrology and its sister discipline astronomy, and looks at their interaction and integration with each other. Astrological imagery recurs on various types of objects, including the coffee set that once belonged to Fath ‘Ali Shah Qajar (r. 1797–1834) discussed in a previous blog post. The exhibition moves on to geomancy, or as known in the Arabic tradition, the ‘science of the sand’ (‘ilm al-raml). In this technique, the diviner traces 16 figures made of dots and lines on the sand and then interprets the sequence to answer a question. The next two divinatory techniques considered are dream interpretation and a practice known as bibliomancy, which uses books to foretell destinies and events.

Calligraphic Finial in the Shape of a Dragon Golconda (India), late 17th–early 18th century, Brass, 18 x 10.7 cm Purchased, 1994. Ashmolean Museum (EA1994.45) © Ashmolean Museum, University of Oxford

Calligraphic Finial in the Shape of a Dragon
Golconda (India), late 17th–early 18th century, Brass, 18 x 10.7 cm
Purchased, 1994. Ashmolean Museum (EA1994.45)
© Ashmolean Museum, University of Oxford

The second gallery is titled ‘The Power of the Word’. It explores how objects carrying specific inscriptions (primarily sacred in nature) became imbued with protective, curative or talismanic powers. The Qur’an is the obvious primary resource of power and protection for Muslims, and examples of the Holy Book displayed in this gallery are opened on specific verses that are known to have been used for protective or healing purposes. The range of objects exhibited here, including arms and armour as well as the so-called magico-medicinal bowls, are inscribed with sacred words and thus appeal to their shielding or restorative properties.

Amulet India, late 17th–early 18th century, Cornelian, inscribed and jade inlaid with gold and inset with emeralds and rubies, 3.2 x 4.1 cm Presented by J. B. Elliott, 1859. Ashmolean Museum (EA2009.5) © Ashmolean Museum, University of Oxford

Amulet
India, late 17th–early 18th century, Cornelian, inscribed and jade inlaid with gold and inset with emeralds and rubies, 3.2 x 4.1 cm
Presented by J. B. Elliott, 1859. Ashmolean Museum (EA2009.5)
© Ashmolean Museum, University of Oxford

The third and last gallery – ‘Amulets and Talismans’ – explores a wide selection of these objects. Many take the form of jewellery or small pocket-size objects, such as miniature Qur’ans or tiny scrolls kept inside cylindrical containers. Shops in various Muslim countries still offer devotional and preventive amulets for sale today. Also highlighted in this gallery are certain talismanic symbols which were considered blessed due to their associations with sacred individuals or sites. Among the most potent are the seal of Solomon and objects associated with the Prophet Muhammad, such as the mythical sword dhu’l-fiqar and his sandal (na‘l al-nabi). Finally, the exhibition looks at a selection of calligraphic works imbued with blessing (baraka) and protective powers, including the hilya (verbal portraits of the Prophet Muhammad) and calligrams (images made of words).

Pocket-size commodities and keyring sold at the Shrine of Eyüp, Istanbul Private collection © Ashmolean Museum, University of Oxford

Pocket-size commodities and keyring sold at the Shrine of Eyüp, Istanbul
Private collection
© Ashmolean Museum, University of Oxford

Further information on the themes and objects in the exhibition can be found in the exhibition catalogue and the exhibition microsite. There are also gallery tours as well as a series of talks and events on a range of topics relating to the exhibition, details of which can be found here.

For general information about the exhibition, click here.

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Monkey Tales: Apes and Monkeys in Asian Art

Posted on July 11, 2016 by clarep

Exhibition dates: 14 Jun 2016 to 30 Oct 2016

Gallery 29 | Admission Free

2016 is the Year of the Monkey according to the traditional Chinese lunar calendar. While the lunar calendar and its twelve zodiac animals are distinct to East Asia, images of monkeys feature in the mythology, folklore, art and literature of many cultures around the globe.

This exhibition, drawn from the Ashmolean’s collections of Asian art, celebrates the Year of the Monkey by showing images of monkeys from across Asia. It includes depictions of monkeys in their natural environment and highlights two of the mythical monkey figures best known outside Asia: the Monkey King of Chinese literature and the Hindu monkey warrior Hanuman.

Monkeys in the wild

There are many different species of ape and monkey native to the forests and mountains of Asia, ranging from baboons in the Arabian Peninsula to orangutans in the rainforests of Borneo, long-armed gibbons in China and India, and many varieties of macaque across the whole region. They are widely celebrated in poetry and literature and represented in art.

Ohara Koson (1877–1945) Monkey on a willow branch Japan Colour woodblock print 1900 EA1989.177 This print shows a Japanese macaque, a species of monkey that is native to Japan. Ohara Koson was a prolific printmaker, best known for his depictions of birds and flowers. Especially in his early work, Koson’s prints had a very painterly feel. When this print was made around 1900, Japanese prints were made by division of labour; Koson was the print designer who worked with blockcutters and printers under the direction of a publisher.

Ohara Koson (1877–1945), Monkey on a willow branch
Japan, colour woodblock print, 1900, EA1989.177
This print shows a Japanese macaque, a species of monkey that is native to Japan. Ohara Koson was a prolific printmaker, best known for his depictions of birds and flowers. Especially in his early work, Koson’s prints had a very painterly feel. When this print was made around 1900, Japanese prints were made by division of labour; Koson was the print designer who worked with blockcutters and printers under the direction of a publisher.
© Ashmolean Museum, University of Oxford

 

Monkey King

The Monkey King is the main character in the famous Chinese novel, Journey to the West. First published in the 1500s and attributed to the author Wu Cheng’en, the tale also became enormously popular in Japan. It relates how the Monkey King, after being cast out of heaven, redeems himself by helping the Tang dynasty monk Xuanzang on his pilgrimage to India in search of sacred Buddhist texts. The Monkey King is accompanied by his companions, Pigsy and Sandy and the Dragon Prince, who transforms himself into a white horse for Xuanzang to ride on.

From a set of nine papercuts showing scenes from Journey to the West China, Cut paper, 1980s The papercut is a distinctive Chinese visual art form, in which artists cut detailed designs in paper using scissors or engraving knives. This set of papercuts depicts characters from the Chinese novel Journey to the West, attributed to Wu Cheng'en (1505–1580). In this tale the Tang Buddhist monk Xuanzang (602–664) and his four disciples, Monkey King, Pigsy, Sandy and the Dragon Prince (disguised as a white horse), head westward in search of scriptures. The Monkey King, also called Sun Wukong, possesses superhuman powers and can travel great distances through the air riding on the clouds.

From a set of nine papercuts showing scenes from Journey to the West
China, cut paper, 1980s
The papercut is a distinctive Chinese visual art form, in which artists cut detailed designs in paper using scissors or engraving knives. This set of papercuts depicts characters from the Chinese novel Journey to the West, attributed to Wu Cheng’en (1505–1580). In this tale the Tang Buddhist monk Xuanzang (602–664) and his four disciples, Monkey King, Pigsy, Sandy and the Dragon Prince (disguised as a white horse), head westward in search of scriptures. The Monkey King, also called Sun Wukong, possesses superhuman powers and can travel great distances through the air riding on the clouds.
Presented by John Gittings, ea2008.42.d
© Ashmolean Museum, University of Oxford

Tsukioka Yoshitoshi (1839 – 1892), The monkey Son Gokū with the rabbit in the moon (Songokū gyokuto), From the series ‘One Hundred Aspects of the Moon (Tsuki hyaku sugata)’ Japan, Colour woodblock print, 1889 Here the Monkey King is dramatically framed against an enormous moon. In the background is the ‘Jade Rabbit’, which the Japanese see in the moon’s markings, instead of a ‘man in the moon’. As there is no myth that involves these two characters together, it seems to be Yoshitoshi’s idea to bring them together. This series of 100 prints was one of Yoshitoshi’s final works. The subjects, linked only by the presence of the moon in each print, are drawn from various sources in Japanese and Chinese history and literature, Kabuki and Nō theatre. Presented in memory of Derick Grigs, EA1971.170

Tsukioka Yoshitoshi (1839 – 1892), The monkey Son Gokū with the rabbit in the moon (Songokū gyokuto), From the series ‘One Hundred Aspects of the Moon (Tsuki hyaku sugata)’
Japan, colour woodblock print, 1889
Here the Monkey King is dramatically framed against an enormous moon. In the background is the ‘Jade Rabbit’, which the Japanese see in the moon’s markings, instead of a ‘man in the moon’. As there is no myth that involves these two characters together, it seems to be Yoshitoshi’s idea to bring them together. This series of 100 prints was one of Yoshitoshi’s final works. The subjects, linked only by the presence of the moon in each print, are drawn from various sources in Japanese and Chinese history and literature, Kabuki and Nō theatre.
Presented in memory of Derick Grigs, EA1971.170
© Ashmolean Museum, University of Oxford

 

Hanuman

One of the most popular Hindu gods is Hanuman the Monkey, in some tales described as a manifestation of Shiva. Revered for his bravery, strength, loyalty and dedication to justice, Hanuman’s heroic exploits are told in the great Hindu epic Ramayana, in which he is depicted as a warrior fighting for King Rama against the evil demon king Ravana. He is also mentioned in several other texts. Some scholars believe that Hanuman mythology might be the origin of the Chinese Monkey King story.

Hanuman sets fire to Lanka with his tail, Ravi Varma Press, Bombay and Lonavla, India
Chromolithograph, Early 1900s
The heroic Hanuman went to spy out Ravana’s fortress of Lanka, secretly visiting Rama’s wife Sita in captivity. He was then caught and Ravana’s son wrapped his tail in an oiled cloth and set it alight. But Hanuman escaped and set the city ablaze as he flew off. The Ravi Varma Press greatly popularised the work of the painter Raja Ravi Varma (1848–1906), who interpreted Hindu mythological scenes in a Europeanised academic style. The eye-catching mass-produced prints deriving from his paintings became widespread in 20th century India, adorning households, shops and tea-houses. Gift of the Church Missionary Society, EA1966.52.113
© Ashmolean Museum, University of Oxford

 

The Chinese lunar calendar

China and other East and Southeast Asian countries have traditionally used a lunar calendar. This calendar is composed of a repeating twelve-year cycle, with each year corresponding to one of twelve zodiac animals (rat, ox, tiger, rabbit, dragon, snake, horse, sheep, monkey, rooster, dog and pig). Each zodiac animal is believed to represent particular characteristics and people born in a certain year are believed to take on these characteristics. People born in the Year of the Monkey are thought to be lively, intelligent, sociable and at times self-centred.

 

Monkey King Opera mask, From a set of ten papercuts depicting Beijing opera masks 1980s, dye on cut xuan paper This papercut shows the Monkey King in the facial make-up of the Beijing opera. The Monkey King is a very popular character in Beijing opera – a type of traditional theatre integrating music, performance, literature and face-painting which rose to prominence in the late 1700s is portrayed as an intelligent, righteous, brave and faithful figure, inaugurating the auspicious tidings of the year of the monkey. Presented by John Gittings, EA2008.53.j

Monkey King Opera mask, From a set of ten papercuts depicting Beijing opera masks
1980s, dye on cut xuan paper
This papercut shows the Monkey King in the facial make-up of the Beijing opera. The Monkey King is a very popular character in Beijing opera – a type of traditional theatre integrating music, performance, literature and face-painting which rose to prominence in the late 1700s is portrayed as an intelligent, righteous, brave and faithful figure, inaugurating the auspicious tidings of the year of the monkey.
Presented by John Gittings, EA2008.53.j
© Ashmolean Museum, University of Oxford

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The Universe in a Coffee Cup

Posted on April 11, 2016 by francescal

Walking in the Islamic Middle East Gallery at the Ashmolean Museum, visitors may encounter a set of objects of impressive finesse and intricacy (fig. 1). Comprising a lidded cup, saucer and spoon, this small gold enamelled coffee set is not only a triumph of skill and inventiveness, but also a unique lens through which a whole cultural and metaphysical context can be observed.

Fig.1 Set with Astrological Decoration, Iran, early 19th century, gold, enamelled. Accepted by HM Government in lieu of Inheritance Tax on the Estate of Basil Robinson and allocated to the Ashmolean Museum, 2009 (EA2009.2-4) © Ashmolean Museum, University of Oxford

Fig.1 Set with Astrological Decoration, Iran, early 19th century, gold, enamelled. Accepted by HM Government in lieu of Inheritance Tax on the Estate of Basil Robinson and allocated to the Ashmolean Museum, 2009 (EA2009.2-4) © Ashmolean Museum, University of Oxford

Used for imperial regalia and diplomatic gifts since the Safavid period (1501-1736), the technique of gold enamelling became quite popular under the Qajar dynasty (1785-1925), the time when this and other comparable surviving enamels were produced. Luckily, in this case an elaborate poem distributed in elongated cartouches reveals the identity of its recipient, Fath ‘Ali Shah Qajar (r. 1797-1834), an ambitious leader and formidable patron of the arts.

In the verses bordering the saucer Fath ‘Ali Shah is compared to the Sun, acknowledged as ‘the cause of creation and the way of heaven’ and celebrated as a source of cosmic order thanks to which ‘the seven planet stars have attained their stability’. Immediately below, the decorative programme responds to the verses with personifications of the planets in a sequence of roundels: at 1 o’clock is the Moon, with its disk; at 3 o’clock Saturn, resembling a Hindu deity with multiple arms and attributes; at 5 o’clock Jupiter, unusually represented as a young kneeling woman; at 6 o’clock Mars, holding warlike attributes; at 8 o’clock the Sun; at 10 o’clock Venus, the harp-player; and, finally, at 11 o’clock the learned Mercury.

Fig.2 Personifications of the six planets and the pseudo-planet Jawzahr, ‘the dragon’ (EA2009.3) © Ashmolean Museum, University of Oxford

Fig.2 Personifications of the six planets and the pseudo-planet Jawzahr, ‘the dragon’ (EA2009.3) © Ashmolean Museum, University of Oxford

The astral symbolism continues on the cup and its lid in both word and image (fig. 3). The poetry on the cup is especially ingenious in its use of puns and metaphors. It compares the reflection of the cup’s holder to a glowing Moon, a frequent paragon of beauty in Persian poetry, and declares the heavens and the zodiac ‘in the grasp of the Sun’, as by holding the cup the august ruler would symbolically have the universe in his hands. To fulfil this vision, the signs of the Western zodiac have been densely stacked on the outer surface of the vessel, alternated with personifications of the six main constellations: Cassiopeia, Perseus, Arcturus, Andromeda, Sirius and Serpens. To emphasize Fath ‘Ali Shah’s universal authority further, the lid carries another set of zodiacal signs drawn from the East Asian tradition and probably filtered to Iran through its past Mongol rulers and extensive contacts with China.

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One image remains enigmatic. This is the one on the saucer’s central medallion and depicting the pseudo-planet Jawzahr, or ‘the dragon’. At times considered the eight planet, Jawzahr was responsible for lunar and solar eclipses. In the present rendition, however, entangled with a hybrid human figure featuring two heads and three bodies, its ultimate meaning remains obscure. By referring to transitory processes and the passing of time, and because of the figures’ transformation and circular arrangement, the composition may be hinting at the cyclical nature of time and ideas of rejuvenation and renewal. Both would be suitable for a ruler like Fath ‘Ali Shah who aspired to bring Iran back to its former glory.

Intended for the ‘Lord of Conjunctions’ (sahib qiran), a title that appears in historical narratives associated with Fath ‘Ali Shah and several Islamic rulers, it is no surprise that an astrological theme was chosen for the decoration of such a personal object. The term sahib qiran, increasingly adopted in royal titulature after Tamerlane (died 1405) but also used by previous Mongol and Turkic rulers, called for auspicious planetary conjunctions in relation to the reigns of specific individuals. Its addition to other imperial epithets imbued political legitimacy and authority with cosmic and universal references.

Hence, far from indicating the ruler’s ‘superstitious’ nature and actually reflecting the range of cultural associations informing royal ideology in the Persianate world, this set ultimately confirms the relevance of divinatory sciences and occult practices in Islamic courts. A more detailed historical exploration of these themes and their impact on Islamic visual and material culture will be undertaken with the exhibition Power and Protection: Islamic Art and the Supernatural, which opens at the Ashmolean Museum this coming October.

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Some Depictions of Fishing in Japan

Posted on March 30, 2016 by joyces

Fish has been a staple ingredient of the Japanese diet for hundreds of years. A myriad of different species of fish are harvested from the surrounding sea in fishing boats, while the rivers and lakes provide freshwater produce for the table. Fishing has long been celebrated in paintings, woodblock prints and also by the netsuke makers who, particularly in the late nineteenth century, followed a fashion for depicting not warriors and aristocrats, but those considered lower down the social scale;  men and women who contributed to Japan’s industries.

‘Cormorant Fishing at night’, woodblock print, Utagawa Kunihisa II, 1844, EAX.4688

‘Cormorant Fishing at night’, woodblock print, Utagawa Kunihisa II, 1844, EAX.4688 © Ashmolean Museum, University of Oxford

 

‘Fishing for sweetfish on the Tama River in the autumn moonlight’, woodblock print, Utagawa Hiroshige I (1844-1848), EAX.4750

‘Fishing for sweetfish on the Tama River in the autumn moonlight’, woodblock print, Utagawa Hiroshige I (1844-1848), EAX.4750 © Ashmolean Museum, University of Oxford

 

Netsuke, Kyokusai, wood, late C 19th, height 5.3cm tall, EA1996.20

Netsuke, Kyokusai, wood, late C 19th, height 5.3cm tall, EA1996.20 © Ashmolean Museum, University of Oxford

This late 19th century wood netsuke was carved in Tokyo by Kyokusai, who was famous for his intricate work and realistic facial expressions. This tiny fisherman, prepares his net to sally forth and fill the empty basket at his feet.

Figure of an Ainu fisherman, Numata Ichiga (Tokyo School), bronze, around 1900, height 48cm, EA2008.8

Figure of an Ainu fisherman, Numata Ichiga (Tokyo School), bronze, around 1900, height 48cm, EA2008.8 © Ashmolean Museum, University of Oxford

The fisherman, wearing a coat decorated with traditional Ainu patterns, comes from Hokkaido, the northernmost island of the Japanese archipelago.

Japan has one extraordinary method of gathering fish from the ocean’s floor, which has been practiced for over two millennia. Ama is the name given women who have perfected the technique of plunging down to the bottom of the sea without the use of any diving equipment.  Clad only in a loincloth, they are able to hold their breath far longer than most, which enables them to collect abalone and octopus amongst other fish and bring them back in their hands.

‘Ama clutching an abalone shell’, woodblock print, Utagawa Kuniyoshi (1849-1853), EAX.5292

‘Ama clutching an abalone shell’, woodblock print, Utagawa Kuniyoshi (1849-1853), EAX.5292 © Ashmolean Museum, University of Oxford

 

‘Pictures of Products and Industries of Japan - Ama fishing for carp’, woodblock printed book, Utagawa Hiroshige III, 1877, EA1964.224

‘Pictures of Products and Industries of Japan – Ama fishing for carp’, woodblock printed book, Utagawa Hiroshige III, 1877, EA1964.224 © Ashmolean Museum, University of Oxford

 

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This jolly fisherman, carved in ivory around 1820, carries a huge abalone shell on his back, maybe one he acquired from an ama. The meat inside the shell is a delicacy, eaten either raw, as sashimi and sushi, or cooked. The shell is prized as decoration on lacquer objects, such as this lacquer box decorated with a hydrangea made for the export market around 1900.

Lacquer box, c. 1900, 15.3 x 12.0 x 5.8 cm, EA1956.3337

Lacquer box, c. 1900, 15.3 x 12.0 x 5.8 cm, EA1956.3337 © Ashmolean Museum, University of Oxford

Netsuke carvers loved to add a touch of humour to their subjects. This ama is getting more than she bargained for from an amorous octopus!

Netsuke, ivory, mid-1800s, 2.0 x 3.3 cm, EA1963.163

Netsuke, ivory, mid-1800s, 2.0 x 3.3 cm, EA1963.163 © Ashmolean Museum, University of Oxford

However, the octopus was not always friendly; the one depicted here is putting this poor fisherman in serious trouble.

Netsuke, wood, mid-1800s, 3.1 x 3.4 x 2.1 cm, EA1956.3221

Netsuke, wood, mid-1800s, 3.1 x 3.4 x 2.1 cm, EA1956.3221 © Ashmolean Museum, University of Oxford

Finally, an octopus captured and ready for sale.

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Joyce Seaman, Research Assistant, Japanese Art.

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Scenes of Last Tokyo

Posted on March 11, 2016 by clarep

Scenes of Last Tōkyō (Tokyo kaiko zue): Japanese Creative Prints from 1945

Gallery 29, until 5 June 2016

‘Tokyo Station’, Onchi Kōshirō (1891–1955), 1945 Presented by Christopher Dyment, EA2015.28

‘Tokyo Station’, Onchi Kōshirō (1891–1955), 1945
Presented by Christopher Dyment, EA2015.28 © Ashmolean Museum, University of Oxford

The spring 2016 exhibition in the Ashmolean’s Eastern Art Prints and Paintings gallery highlights a set of fifteen Japanese woodblock prints published in December 1945, just after the end of World War II. During the war, Tokyo suffered serious bomb damage and the series shows nostalgic views of famous places in Tokyo as they appeared before the wartime air raids. Half of the prints had already been published in the late 1920s, after the Great Kanto Earthquake devastated Tokyo in 1923, and were reworked for this series; the views depicted are therefore doubly nostalgic.

The prints were published with both Japanese and English titles in order to appeal not just to Japanese audiences but also to the Allied Occupation forces stationed in Japan at the time. It is thought that the title ‘Scenes of Last Tokyo’ may in fact have been a mistake for ‘Scenes of Lost Tokyo’. It is worth noting that the artists’ statement accompanying the portfolio, which contains a heartfelt expression of loss at the destruction of Tokyo and of nostalgia for Japan’s imperial past, appears only in Japanese.

The nine artists who collaborated on this portfolio all belonged to the Sōsaku Hanga (Creative Print) movement. This art movement emerged in the early 1900s, emphasizing the importance of individual artistic expression. Creative Print artists insisted on designing, cutting and printing their own work, unlike traditional Japanese ukiyo-e print designers, who worked with skilled block cutters and printers under the direction of commercial publishers. The main catalyst for the modernization of Japanese prints came from the West. Japanese artists were by now very well informed about international art movements, with many artists travelling abroad and numerous art magazines introducing works by Western printmakers such as William Nicholson, Félix Valloton and Edvard Munch. As a result, not all Creative Prints were particularly technically accomplished; far more important to their makers was the act of creating an original work of art.

EA2015.27 ‘Night of Shinjuku’, Maekawa Senpan (1888–1960), 1945 Presented by Christopher Dyment, EA2015.27

EA2015.27 ‘Night of Shinjuku’, Maekawa Senpan (1888–1960), 1945
Presented by Christopher Dyment, EA2015.27 © Ashmolean Museum, University of Oxford

‘Scenes of Last Tokyo’ was presented to the Ashmolean Museum in 2015 by Christopher Dyment, a long-time collector of Sōsaku Hanga Creative Prints.  The prints are complemented in the exhibition by a display of four artists’ books, selected from a set of nine volumes published between 1941 and 1943 to commemorate ten years of publishing by the art publishers Aoi Shobō. Entitled ‘Collection of Nine ‘Window of Writing’ Print Albums (Shosō hanga-chō jūren-shū), this set contains works by many of the leading Sōsaku Hanga artists of the day, including five of the artists who contributed to the ‘Scenes of Last Tokyo’ series. Each book contains ten works, accompanied the artist’s own text.

 

Clare Pollard, Curator of Japanese Art

 

Click HERE to purchase prints on demand from the Ashmolean shop.

 

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