AWNY Gallery Shows 17


enthroned beneath an elaborately rendered baldachin, flanked by bodhisattvas, celestial beings, and architectural elements derived from Greco-Roman visual traditions. Te work exemplifies the sophisticated synthesis


of


Inside and outside (2005) by Guiline Kim (1936-2021), oil on canvas, 30 x 70 cm, Space 776


perception, and structure. Teir works reflect how inherited artistic sensibilities reconfigured


are under tested and present-day


conditions. Alongside these contemporary


practices, works by Kim Guiline (1936–2021, South Korea) are presented to expand the exhibition’s temporal scope. Shown in proximity to contemporary works, his paintings allow different moments in South Korean art history to be viewed together, emphasising continuity and


transformation rather than


• 37-39 Clinton Street ST, New York, NY 10002, space776.com. Opening reception 20 March 5-9 pm


Indian & Himalayan Art


INDIAN CLASSICAL PAINTINGS AND


COURTLY OBJECTS Art Passages, 19 to 25 March


Highlights of this year’s show include a large textile painting of Vishvarupa, a universal form of Krishna, as revealed to Arjuna, largely based on the Hindu concept of the universal man in the Rig Veda. Other highlights include a painting on paper from an obscure Bhasmasura series, or the story of the ash demon, depicting


Bhasmasura, obsessed


with Parvati, chasing Shiva and Parvati with a magic bracelet to destroy Shiva and obtain Parvati for himself. Another painting, presumably from the last episode of a Bhasmasura series, depicts Mohini, an enchantress form of Vishnu, coming to Shiva’s aid to deal with Bhasmasura. In this scene, Mohnini tricks Bhasmasura in imitating her dance moves with a final act of touching


her head. Bhasmasura


linear progression. Trough the juxtaposition of works across generations, the exhibition offers a focused view of how contemporary practice appears from layered historical conditions while remaining firmly grounded in the present.


Indic religious


iconography with Hellenistic sculptural naturalism that defines Gandharan art. Te sensitive modelling of the figure, rhythmic drapery, and narrative clarity reveal the technical mastery of early Buddhist workshops operating at the crossroads of South Asia, Central Asia, and the Mediterranean world. Te panel stands as a powerful testament to Gandhara’s role in shaping early Buddhist visual culture. Other works include the Nepalese


Western Tragopan (Tragopan melanocephalus), Mughal India, circa 1660, opaque pigment with gold on paper, laid down in a cropped album page with gold arcs of foliage on a rust ground, with gold-splashed margins ruled in gold and black, 11.8 by 9.7 cm, Oliver Forge Brendan Lynch


• Exhibiting at 115 East 72nd Street, Suite 1 B, New York, NY 10021,


LUMINARIES, MYTH AND FANTASY IN INDIAN AND


PERSIAN PAINTING Oliver Forge Brendan Lynch, 19 to 27 March


• Exhibiting at 67 East 80th Street, Suite 2, New York, NY 10075, forgelynch.com


Tis year’s show comprises 40 court paintings from India and Persia, dating from the 17th to the 19th century. Highlights include a folio from a Ramayana series, Pahari Hills circa 1800-1815, a Mughal- period depiction of a tragopan (pheasant family), and an early Qajar portrait of a courtesan, signed Mirza Baba (fl 1789-1810), from Persia.


touches his head forgetting all about his magic bracelet, which starts to burn him instantly.


Hours: 10-6, or by appointment Opening reception 19 March, 5-8 pm


figure Vasudhara, goddess of wealth and abundance, a gilt-alloy sculpture from the 12th/13th century that exemplifies the extraordinary achievements of Newar metalworkers during Nepal’s medieval artistic flowering. Other works include a 13th-century Tibetan portrait painting of a monk from Central Tibet. Depicting a youthful lama seated in meditation with hands raised in the teaching gesture (dharmachakra mudra), the painting presents the figure enthroned within an elaborate cosmic setting populated by lineage masters, Buddhas, Bodhisattvas, and protective deities. Distinguished by its refined line work, subtle shading, and jewel-like palette, the painting belongs to an extremely small group of surviving portraits associated with the Kagyu monastery of Yazang, founded in 1206. Scholarly analysis suggests that the portrait likely represents Rinchen Jose, the second abbot of Yazang, who died in 1242. • Exhibiting at Adam Williams Fine Art,


24 East 80th Street, New York, NY 10075, carltonrochell.com


Independents


LANDSCAPE MASTERS Hokusai, Hiroshige,


Hasui & Yoshida Ronin Gallery, until 30 April


Celebrating Japan’s most iconic interpreters of the natural world, this show brings together works of both ukiyo-e and shin-hanga to trace more than a century of artistic innovation—from the bold vistas of the Edo period to the atmospheric modern landscapes of the early 20th century. Hokusai


Featuring works by Katsushika, Hiroshige


Utagawa, Hasui Kawase, and Hiroshi Yoshida, the show invites visitors on a journey through Japan’s seasons and scenery. From mist- laden harbours and snow-capped mountain


passes to luminous


evenings and bustling city streets, these prints reveal the enduring allure of the Japanese landscape. As travel restrictions eased in the


19th century, a new wanderlust swept through Edo. Te merchant class embraced the freedom to explore, and woodblock artists responded with meisho-e – pictures of famous places. Rather than idealised visions, these images offered recognisable landscapes that allowed viewers to revisit memories or dream of future journeys. Hokusai and Hiroshige defined the form, combining human presence with nature’s vastness in compositions that later captivated Western artists such as Monet, Whistler, and Van Gogh. Te Meiji Restoration ushered in lithography, and


photography,


In the Mountains of Totomi Province by Hokusai Katsushika (1760-1845), from the series the Thirty-Six Views of Mount Fuji, circa 1832, colour woodblock print, Ronin Gallery


sweeping modernisation, challenging the future of woodblock printing. Yet by the early 20th century, a powerful revival emerged. Artists like Hasui and Yoshida fused Western Impressionist influence with traditional carving and printing


techniques, creating


hanga – a modern reinvention of the Japanese woodblock print. Teir work introduced nuanced light,


weather, and a heightened realism while remaining deeply connected to ukiyo-e’s lineage. Tough separated by a century, all


• 32 West 40th Street, New York, NY 10018, roningallery.com Hours: Mon-Fri 11-6pm


four masters share an abiding love for Japan’s natural world. Highlights of the exhibition include selections from Hokusai’s Tirty-Six Views of Mount Fuji, Hiroshige’s One Hundred Views of Edo, rare pre- earthquake editions by Hasui, and Yoshida’s luminous explorations of time and space – each offering a distinct perspective on place, season, and the passage of time. Together, these works stand as a testament to the universal appeal of the Japanese landscape and the enduring power of the woodblock print.


shifting


shin-


OBJECTS OF VENERATION Buddhist Art from India


and the Himalayas Carlton Rochell Asian Art, 19 to 27 March


A highlight of the show includes a 3rd-century Gandharan stone relief panel portraying the Maitreya in Tushita Heaven. Carved in schist, the relief presents the future Buddha


The Maitreya in Tushita Heave, Pakistan, ancient region of Gandhara, circa 3rd century, schist, 22 x 38 cm, Carlton Rochell Asian Art


35 N Moore St., New York, NY, 10013 T. +1 (212) 967-4899 mail@ippodogallery.com


BANQUET OF LIFE: Nihonga Paintings by Daisuke Nakano March 19-April 18, 2026


Four Seasons - Whispers of Spring, 2025 Washi, gold leaf, ink, and mineral-based pigments H35.8 x W25.7 in


Vishvarupa, also titled Virata Swarupa (universal form), is a depiction of Vishnu turned into a description of the universe. Vishvarupa, India, Rajasthan, Kotah, circa 19th century, ink, opaque watercolour and gold on textile, 79 x 50 cm, Art Passages


ASIAN ART | MARCH 2026


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24