Natural Tendencies ëBirds and Beastsí of Japan Reflects Link With Nature by Fresia RodrÌguez Cadavid The colors are deep and sensual. The subjects are peaceful and captivating. Nature is the dominant element in the exhibition "Birds and Beasts in Japanese Art," on display at the Freer Gallery of Art. The collection of Japanese animal and flower paintings isolates the wonders of nature, compelling visitors to examine the works in solitude as the art blooms on hanging scrolls, lacquer boxes, painted albums, books and folding screens. In "Auspicious Symbols: Crane, Rising Sun, and Peach" by Okamoto Shuki, a white and black crane is seen calmly floating in a sea of waves beneath a bold circular red sun and a blue-green sky. Next to the crane is a blossoming peach tree. From the Japanese Edo Period (1603-1868), the hanging scroll of ink, color and gold on silk was possibly created for an auspicious time, such as a birthday or New Yearís celebration. Tonality, depth and a multitude of colors draw viewers to all of the elements in the painting, which act in harmony to highlight Mother Nature. A brightness of color brings the subject alive in Mori Sosenís "Peacock." Also from the Japanese Edo Period, this hanging scroll showcases the bold and lively blue-and-green plumage of the peacock, a popular subject in Japanese art. These birds were often the focal points of gold-leafed screens and hanging scrolls. Although an abstract depiction, the realism of the painting is striking. Parting from reality is Ito Jakuchuís "Cranes." This pair of hanging scrolls depicts two species of cranes. In one, a white-napped crane with a large wing outstretched stands below a rocky slope. In the other, a red-crowned Japanese crane proudly walks next to blooming chrysanthemums. The uniqueness of Jakuchuís style of painting epitomizes the difference between Western and Japanese art. Both the crane and flowers appear to be at their peak. The crane in particular exudes a sense of dominance and strengthóqualities that Western artists tend to only bestow upon man. Nature is also depicted on a gold, silver and lacquer document box on display. The box is richly decorated with gold and silver using a Japanese technique in which powders and particles are sprinkled on and embedded in lacquer before the natural varnish sets, creating a design resembling a painting. Silver cords were attached to silver ring fittings to tie over the top of the box when it was used to present a letter or document. This box, along with a separate elegant inkstone box from the Edo Period, show how birds and beasts were revered in Japanese art. The outer surface of the inkstone box depicts a nighttime scene of two cranes standing alone on a bank. The inside surface is decorated with a golden design of chrysanthemums next to a stream. Such containers were used for water droppers, writing utensils and as stone used to grind solid ink. "The lacquer boxes show beautiful workmanship and very striking designs," said Ann Yonemura, senior associate curator of Japanese Art at the Freer and Arthur M. Sackler galleries. "Monkeys at a Waterfall," also by Sosen, amazingly captures the vision of all the artistsí work on displayóspecifically their fascination with and admiration of nature. The panel-mounted hanging scroll depicts two monkeys on a tree gathering and eating food. Sosen was captivated by monkeys and his intrigue is reflected in the scroll. The monkeysí gestures and expressions are a true testament to how closely the artist observed the creatures in real life. Curator Yonemura said she hopes that viewers will appreciate the artistsí abilities to give the animals a "great sense of life." The Freer exhibit, which is estimated to bring in about 250,000 visitors through its six-month duration, pays homage not only to the elements of nature but also to this beautiful form of Japanese art. "Birds and Beasts in Japanese Art" runs through July 18 at the Freer Gallery of Art, 12th Street and Independence Avenue, SW. For more information, please call (202) 357-2700 or visit www.asia.si.edu. Fresia RodrÌguez Cadavid is a freelance writer based in Largo, Maryland. Tea Ceremony at the Freer Gallery of Art A complementary exhibit to the ìBirds and Beasts in Japanese Artî display at the Freer Gallery of Art titled ìThe Tea Ceremony as Melting Potî features a small selection of Chinese, Japanese, Korean and Southeast Asian ceramics in the form of jars, bowls, dishes, boxes and a water holder. The display explores how ceramics brought to Japan from different countries during the 16th and 17th centuries through commercial channels became incorporated into the Japanese tea ceremony and impacted Japanese ceramic culture. ìThe exhibit is about the role trade and the way how objects take on a new meaning in a different culture,î said Louise Allison Cort, curator for ceramics at the Freer and Arthur M. Sackler galleries. All of the pieces on display were acquired in Japan in the late 19th century and early 20th century, but subsequent research revealed their true national origins. 2Of the 19 objects presented, only three ceramics were made in Japan, according to Cort. One such pieceóa caramel-colored glazed shipping container from Chinaówas transformed in Japan into a jar for storing tea leaves, gaining an importance that it didnít have in its native land. In fact, the first tea utensils came from China in the 13th and 14th centuries. Other pieces on display include a Vietnamese tea bowl and a Thai candy pellet bottle. óFresia RodrÌguez Cadavid