Namikawa Yasuyuki was one of the outstanding masters of Meiji-period cloisonné. His artistry bought him many prizes in foreign and domestic expositions, as well as Imperial patronage.

This jar was exhibited in Glasgow in 1911. The catalogue from that exhibition states that Hayashi Kodenji used fifty-one different colors of enamel to create the design and took almost six months to complete the piece.

The arts of Japan during the last half of the 19th century experienced a momentous change when nearly two hundred fifty years of isolation from Western influences ended with the arrival of U.S. Admiral Perry in 1853.

Metal ornaments like this mythic dragon decorated the tops of poles carried in religious processions. Although made for Muslim festivals, the dragon is an age-old figure in North Asian art.

Barry Le Va has redefined sculpture through his experimentation with the medium and its composition.

The work of Sara Cwynar combines the obsessive materiality of a “hoarder” with the trompe-l’oeil effects of studio photography.

As in Nora Aslan's other collages, Acolchado (Quilt) alludes to textiles through its highly organized patterns. She adds buttons to the surface to further the overt reference to quilts.

Taking found photographic negatives and film as a point of departure, Marlo Pascual creates photo-based sculptures, installations, and images by employing strategies of appropriation that simultaneously reflect a sophisticated understanding of art history.