Founded in 1926, the China Institute has for mission to “advance a deeper understanding of China through programs in education, culture, business, and art, in the belief that cross-cultural understanding strengthens our global community.” Since the Institute is located at 125 East 65th Street (between Park and Lexington Avenues), close to The Rockefeller University, I’ve viewed a number of fantastic exhibitions at its gallery over the years, including those featuring scroll paintings, bronze vessels, an emperor’s memorabilia, and the legacy of Confucius. The current exhibition (through June 12) is “Along the Yangzi River: Regional Cultures of the Bronze Age from Hunan.” The long-time gallery director is Willow Weilan Hai Chang, with whom I’ve spoken at the gallery and who has agreed to answer questions of Natural Selections.
The New York Times wrote a lengthy article on Ms. Hai Chang last year, exploring her remarkable life.

Natural Selections: You had what can be described as an extraordinary childhood in China, which appeared to include hard labor. When you were chosen to study archaeology at Nanjing University, it must have been quite a life change for you. Would you see that as your life’s turning point? I would also be interested in how you would compare the excitement of an archaeological excavation to that of putting all the pieces together for an exhibition as a museum curator.

Willow Weilan Hai Chang: Yes, when I was accepted into the prominent Nanjing University (among the top ten in the country), it was my life’s turning point, though maybe at that time, I did not realize it in clear vision. My life certainly changed after I got into the university, and studying archaeology was another new thing to me, since my childhood’s formal (or informal) education never touched on this aspect; all the knowledge, skills, fieldwork, and hands-on practices were very exciting to me. I loved it. The excavation could be very labor-intensive and I needed to survive through the hard living conditions; however, when we found something worthy, it was the most happy moment. The excitement, in fact, is similar to doing an exhibition. First, the most exciting moment for me is based on many years of study, with the knowledge and the insight of how to link those objects within a cultural, historical, or artistic context, to define a perspective to put together a show. All the art materials are there, and everyone knows about these objects; but how to make them into a show, people may do differently. It is true, after many tumblings in my mind, and once all those come together, suddenly, a clearer vision is shining in my head, or in my mind, which is the most exciting moment for me. Then, selecting the artwork is also very exciting, kind of like another excavation, in a much better working condition, just needing to go to the museums and their storage rooms. And finally, when I see that people appreciate and enjoy the exhibition, I also feel very excited and happy.

NS: Since the actual gallery space at the Institute is small, is it difficult to pick only a minimum selection for each exhibition? On the other hand, so many of your exhibitions seem to have more than a fair share of extraordinary pieces, if not masterpieces.

WWHC: Yes, it is our disadvantage, or perhaps advantage, with the limited space, which we need to keep in mind when making selections. However, the advantage is that because of the space, we are more focused, and a lot of the visitors like this intimate environment, which naturally forces them to concentrate and remember something interesting. With limited quantities, we always try to get the best pieces we can.

NS: I attended a lecture series many years ago by James C.Y. Wyatt of the Asian Art department at The Metropolitan Museum of Art (The Met) and his slides of Chinese ritual bronzes made a deep impression on me. He spoke of the great importance the bronzes have had historically in China and he conjured up a very spiritual air. When I visited the current show on these bronzes at the China Institute, your selection of the bronzes from the Hunan Provincial Museum’s collection had an immediacy that I never felt looking at those in The Met’s collection. How are such pieces viewed in China? I’ve heard that Japan designates “National Masterpieces.” Is there any such concept in modern day China?

WWHC: I guess Mr. Wyatt introduced those bronzes that are mainly from central China (along the Yellow River area) where the Ritual of Zhou system formed and was established. The bronzes were mainly used either to state social status or for ceremonial usage. Yes, it is true the bronzes in the China Institute Gallery give a different feeling since they are from the south (the Yangzi River area). They try to adapt central China’s style but have strong local taste, which must be based on their customs and habits. The locals tried to imitate the central styles, but local bronzes did invent some new forms; for instance, the bronze decorations of the big bell, called “Nao,” developed more patterns with meaningful concepts (which we only can guess now). Examples in the bronze patterns include human faces, tigers, horses, frogs, or snakes. As the first exhibition in either the US or even in China to introduce Southern style bronzes, it is natural that you feel the difference compared to the ones you see at The Met, which are mainly from the Yellow River area or are in that style. As far as the issue of a national treasure goes, in China, we also rate artworks based on their rarity and condition to determine if they qualify as a national treasure.

NS: I read several books of Osvald Siren’s multi-volume series on the history of Chinese painting. The development of the themes in Chinese landscape painting appears to have been so slow and incremental over centuries, yet once you study them, you can see the marks of different periods. You oversaw the publication of the catalog for the exhibition on seventeenth century paintings. What would you say is your favorite period of painting?

WWHC: I appreciate that you’ve noticed the evolution of Chinese landscape painting. I have curated two painting exhibitions and I’ve been responsible for the publications, Passion for the Mountains: Seventeenth Century Landscape Paintings from the Nanjing Museum and The Last Emperor’s Collection: Masterpieces of Painting and Calligraphy from the Liaoning Provincial Museum. If you’re asking about art media, I love calligraphy and painting. If you’re asking about historical period, I love the Six Dynasties (third century to sixth century), a period without the central dominant control, but with so many warlords, and divisions along the Yangzi River into Southern dynasties and Northern dynasties. Yet, in this political and social chaos, art and literature boomed. The art in landscape paintings really started in this period, and in particular, the forms, aesthetic judgment, and standards of the Literati style. Thus, the foundations were laid for later Chinese art and culture, and these milestones are not only revered by the Chinese, but are also viewed with the highest regard by neighboring countries like Japan and Korea. So, Six Dynasties, an era with innovation, individualism, and creation, is my favorite period. In 2015, the China Institute Gallery will introduce the art and customs of the fascinating Six Dynasties, mainly using the materials through the last few decades’ excavations. I will be curating and producing this exhibition, as well as its publication.

NS: When I visit the Institute’s gallery, I almost always catch a glimpse of you engaging patrons in interesting discussions. Is this something you enjoy doing?

WWHC: How come you almost always catch those moments? I do not often give the gallery lectures, but it is one of my responsibilities to introduce the exhibitions to our patrons. I am very grateful for their support, which enables us to share the essence of Chinese civilization with the world. I usually enjoy more of the creative part and the study part of the project, but I am happy to see people enjoy the exhibitions. If my talk can enlighten them, I will be happier.

NS: Are there any other comments you would make about living here in New York as compared to living in China?

WWHC: I love New York, having been here for the longest time in my life, longer than I had been in any other cities in China. I love its richness in art and culture, its energy, and its openness to embrace almost everything.