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Rama- The Archer King  
| 25 September 2009 |
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The Southeast Asia gallery at the Denver Art Museum features several important and beautiful stone sculptures from various ages in the history of the Khmer empire in Cambodia. The monumental torso depicted here represents Rama, the hero of the Reamker, the Khmer version of the Hindu epic, the Ramayana. Rama was considered the ideal Hindu king. By the mid-sixth century he came to be regarded as a god, and ultimately the tenth avatar of Vishnu. The image’s power and strength is conveyed through its stance and great size. Its size and the drapery style identify it with the ancient site of Lingapura, the capital of the Khmer under king Jayavarman IV, who ruled from 928 to 941 CE.
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Chinese Idioms and Calligraphy
| 25 November 2009
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Dearest AAm Readers,
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“Mirage” - Artist Zhong Biao in Denver Embrace
| 25 January 2010
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Knowing the Hows but Not the Whys
Said of a person who has only limited or half-baked knowledge of something.
Lie Zi of Zheng of the Warring States Period was learning archery from Guan Yinzi. One day, having hit the bulls-eye, he went to ask his teacher, “Don’t you think I’ve learned what I have to?” Guan Yinzi said, “But do you know why you have been able to hit the bulls-eye?”
Lie Zi could only say “No”.
“Well”, responded Guan Yinzi, “if you don’t know why, how can you say that you’ve mastered the skill?”
So Lie Zi continued to learn for another three years. After that, he again asked for comments by his teacher, who put to him this question, “Do you know now why you can hit the bulls-eye?”
Lie Zi answered, “Yes, I do.”
“Only when you can hit the bulls-eye and know the reason why,” said Guan Yinzi, “can it be said that you have really learned the skill.”
- The Book of Lie Zi
 Knowing the Hows but Not the Whys
Said of a person who has only limited or half-baked knowledge of something.
Lie Zi of Zheng of the Warring States Period was learning archery from Guan Yinzi. One day, having hit the bulls-eye, he went to ask his teacher, “Don’t you think I’ve learned what I have to?” Guan Yinzi said, “But do you know why you have been able to hit the bulls-eye?”
Lie Zi could only say “No”.
“Well”, responded Guan Yinzi, “if you don’t know why, how can you say that you’ve mastered the skill?”
So Lie Zi continued to learn for another three years. After that, he again asked for comments by his teacher, who put to him this question, “Do you know now why you can hit the bulls-eye?”
Lie Zi answered, “Yes, I do.”
“Only when you can hit the bulls-eye and know the reason why,” said Guan Yinzi, “can it be said that you have really learned the skill.”
- The Book of Lie Zi
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 Chinese contemporary art has over the last few years gained avid attention from international collectors, but less so from the more circumspect community of museum curators, particularly in the US. The Denver Art Museum has been one of only a few American museums to have included works from Chinese artists in at least two past exhibitions – ‘Full Frontal: Contemporary Asian Artists from the Logan Collection” in 2003, and then the exhibition that opened the Anschutz Gallery in the Hamilton Building in 2006 – “Radar: Selections from the Collection of Vicki and Kent Logan”. As the titles indicate though both of these exhibitions drew upon a private collection, and so the curators were restricted to the Logans’ holding of Chinese art, albeit significant in quantity and quality.
Chinese contemporary art has over the last few years gained avid attention from international collectors, but less so from the more circumspect community of museum curators, particularly in the US. The Denver Art Museum has been one of only a few American museums to have included works from Chinese artists in at least two past exhibitions – ‘Full Frontal: Contemporary Asian Artists from the Logan Collection” in 2003, and then the exhibition that opened the Anschutz Gallery in the Hamilton Building in 2006 – “Radar: Selections from the Collection of Vicki and Kent Logan”. As the titles indicate though both of these exhibitions drew upon a private collection, and so the curators were restricted to the Logans’ holding of Chinese art, albeit significant in quantity and quality.
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