THE EAST ASIAN PAINTING CONSERVATION STUDIO

SmithsonianFreer Gallery of Art andArthur M. Sackler Gallery

FREER GALLERY OF ART ARTHUR M. SACKLER GALLERY THE NATIONAL MUSEUM OF ASIAN ART AT THE SMITHSONIAN

A R E S O U R C E F O R E D U C AT O R S

c nnectionsASIAN ART

FALL2004

THEEAST ASIANPAINTINGCONSERVATIONSTUDIO

FREER GALLERY OF ART AND

THE ARTHUR M. SACKLER GALLERY

2 ASIAN ART CONNECTIONS

ContentsASIAN ART CONNECTIONS

Cli

ck

Cli

ck*

3 EXHIBITIONS:

SACKLER

FREER

5 CURRICULUM RESOURCEWhat is Conservation?

6 The Conservation of a Japanese

Painting: The Deity of Kasuga

Wakamiya Shrine

8 Vocabulary

9 Conservation in Action

10 Featured Object: The Deity of Kasuga

Wakamiya Shrine

12 The Paste in the Scroll

13 Activity: Scroll Bookmark

14 LITERATURE ON ASIA IN THE CLASSROOM

16 EGYPTIAN MUSIC FOR THE CLASSROOM

17 TOURS

18 TEACHER RESOURCES 2004–2005

Curriculum Resource The Curriculum Resource(pages 5-16) is designed to be used even afterthe information on the outer pages is outdated.When no longer current, discard the outer pagesand keep the Curriculum Resource.

CALL FOR SUBMISSIONS Interested inhaving your work published? If you would like toshare innovative ways to integrate Asia into thecurriculum, send us a 200-word description ofyour project and pictures of the activity. Tell usabout the project—its premise, process, and out-come—and it may become our next feature.

Visit www.asia.si.edu for informationabout school tours, resources for teaching, and information about theImaginAsia family program. TheResources for Teachers section offersonline curriculum guides that includeclassroom projects, lesson plans, curriculum connections, and more.

The Freer Gallery of Art and the Arthur M. Sackler Galleryat the Smithsonian Institution together form the national museum of Asian art for the United States. The Freer Gallery also houses

a collection of American art from the nineteenth and early twentieth centuries, including the world’s most important

collection of works by James McNeill Whistler.

ASIAN ART CONNECTIONS 3

SACKLER ExhibitionsCURRENT EXHIBITIONS

Arts of Mughal IndiaTHROUGH FEBRUARY 6, 2005

Trace the origins and development ofthe Mughal pictorial style in the six-teenth and seventeenth centuries andits impact on both Rajput and Persianpainting through these exceptionalworks of art.

Perspectives—Cai Guo-Qiang: TravelerOCTOBER 30, 2004–APRIL 24, 2005

The Sackler Gallery and theHirshhorn Museum and SculptureGarden offer a two-part exhibitionthat presents major projects devel-oped by the New York–based,Chinese–born Cai Guo-Qiang, anartist who has come to internationalprominence by fusing Eastern andWestern history and visual culture.Site-specific installations at bothmuseums reflect Cai’s meditations on physical and intellectual travel.

Dream Worlds: ModernJapanese Prints andPaintings from the Robert O. Muller CollectionNOVEMBER 6, 2004–JANUARY 2, 2005

In the spring of 2003, the SacklerGallery received a bequest of morethan 3,800 woodblock prints from the

world-renowned Robert O. MullerCollection of Japanese prints. Morethan 150 of these prints, dating fromthe late 1860s through the 1940s, arepresented by the themes of: the ren-dering of light in various atmosphericconditions; depictions of birds andbeasts; theater; images of femalebeauty; and printing technique.

Iraq and China: Ceramics,Trade, and InnovationDECEMBER 4, 2004–APRIL 24, 2005

Revolutionary and enduring changesoccurred in Islamic pottery in Iraq inthe ninth century due to maritimetrade across the Indian Ocean—fromthe Persian Gulf to China. Iraqbecame a center for Islamic ceramic

production as new technologiestransformed common earthenwareinto a vehicle for complex, multicol-ored designs.

Asian Games: The Art of ContestFEBRUARY 26–MAY 15, 2005

The diverse societies of pre-modernAsia are a source of many gamesand sports enjoyed today, includingchess, backgammon, playing cards,polo, and field hockey. This exhibitionfeatures spectacular game sets dating from the twelfth to the nine-teenth century with Asian, Persian,and Indian artworks that depict people playing them.

Sackler galleries to reveal how differ-ent apparently “similar” things can be.The influence of cultural continuity andtradition on design is evident in thebronze, ceramic, jade, and wood objectson view. The exhibition is organized bythe IMA. Support is provided by TheBlakemore Foundation.

Asia in America—Views of Chinese Art from theIndianapolis Museum of ArtTHROUGH MARCH 20, 2005

Seventy-eight objects from the IMA’srich collection of Chinese art thatspans over 4,000 years are juxtaposedwith similar items from the Freer and

ONGOING EXHIBITIONS AT THE SACKLER

The Arts of ChinaContemporary

Japanese Porcelain

Japanese PaintingLuxury Arts of the

Silk Route Empires

Sculpture of Southand Southeast Asia

LEFT TO R IGHT Returning Light: The Dragon Bone(Keel), by Cai Guo-Qiang, (b. 1957), 1994, wooden shipexcavated on Onahama Kajiro beach (Japan), plasticwrap, styrene foam, fish, and salt, installation, from thePan-Pacific, Iwaki City Art Museum, Japan Collection,City of Iwaki, Japan. Photograph courtesy of the artist.

Detail, Maharaja Madho Singh Marches to the Hunt, possibly by Sahiba Ram (ca. 1740–1800), India,Rajasthan, Jaipur school, ca. 1755, album page, opaquewatercolor and gold on paper, Freer Gallery of Art,purchase, F2001.5. Detail, Otani Tomoemon in theRole of Kanshojo, by Natori Shunsen (1886–1960),

1927, woodblock print, ink and color on paper,S2003.8.1554. Makie lacquered go table and contain-ers, and red and white agate go pieces. Japan, MiddleEdo period, early 18th century, wood, gold makie onlacquer ground, red and white agate. Kozu KobunkaKaikan, 6A–8.

FUTURE EXHIBITIONS

4 ASIAN ART CONNECTIONS* Indicates temporary working title

FREER Exhibitions

Work and Commerce: Scenes of Everyday Life in Chinese PaintingTHROUGH JANUARY 17, 2005

As seen in hanging scrolls, albumleaves, and fans, as well as large sec-tions of handscrolls, common Chineselaborers—rice farmers, silk producers,weavers, herdsmen, fishermen, workersin the transportation industry, trades-men, and peddlers—go about their dailylives. Both the particular activity shownand its underlying social or politicalramification are explored.

The Tea Ceremony asMelting PotTHROUGH FEBRUARY 6, 2005

From the sixteenth century, energeticforeign trade introduced many newvarieties of utensils to Japan and reinvigorated the tea ceremony as apopular practice. This small exhibitionpresents a variety of imported teautensils, as well as examples made by Japanese potters.

Life and Leisure: EverydayLife in Japanese ArtTHROUGH FEBRUARY 6, 2005

In the last phase of rule by shoguns inJapan’s Edo period (1615–1868), samu-rai warriors and common people alikeenjoyed such seasonal activities asfestivals, picnics, and viewing thescenery. Paintings, ceramics, and deco-

rated screens provide insight into customs, occupations, and leisure pastimes in urban and rural Japan.

Young Whistler: Early Prints and the “French Set”THROUGH MARCH 13, 2005

American artist James McNeill Whistlerlearned to make prints in Paris. InOctober 1858, he published twelve ofhis most accomplished early prints in a slim portfolio now known as the“French Set.” Early etchings, many ofworking-class life in Paris and ruralFrance, are on view, including the onlyknown impression of “A Youth Wearinga German Cap.”

Luxury and Luminosity: VisualCulture and the Ming CourtTHROUGH JUNE 26, 2005

Imperial porcelain made for the emperors of China’s Ming dynasty(1368–1644) highlight the relationshipof ceramics to other court–sponsoredarts, such as cloisonné and painting,and the new interest in a colorfulpalette and shared symbolic motifs.

Arts of the Indian Subcon-tinent and the HimalayasOPENS OCTOBER 16, 2004, CONTINUES INDEFINITELY

In the century since Charles LangFreer’s first visit to India, the FreerGallery has acquired an outstandingcollection of art that expresses the cultural and religious diversity of theIndian subcontinent and the Tibetanplateau. Hindu, Buddhist, and Jainsculpture, as well as paintings and luxury arts from the Mughal, Rajput,and Deccani courts, are on view.

Coming Soon!Black & White:Chinese Ceramics from the 10th–14th CenturiesOPENS DECEMBER 18, CONTINUES INDEFINITELY

Glossy dark-glazed ceramics juxta-posed with brilliant white porcelains:these eye-catching colors, includingcombinations of the two on a singlepiece, have been popular for Chinesetablewares, jars, and vases since theSong (960–1279) and Yuan (1279–1368) dynasties.

CURRENT EXHIBITIONS

ONGOING EXHIBITIONS

LEFT TO RIGHT Detail, Sericulture, attributed to Cheng Qi(act. ca. 1250–1300), China, Yuan dynasty, handscroll,ink and color on paper, purchase, F1954.20. Teapot, byUeda Kichibei (Kichizaemon VIII, d. ca. 1861–64), Japan,Edo period, mid-19th century, earthenware with lead

glaze, gift of Charles Lang Freer, F1897.54. LaRetameuse, 1858, one of the Twelve Etchings fromNature, by James McNeill Whistler (1834–1903), etchingon paper, gift of Charles Lang Freer, F1898.213. JainShrine, Siddhapratima Yantra, Indian Sultanate, 1333,

bronze, copper alloy, traces of gilding, silver, purchase,F1997.33. Dish with foliate flaring rim, Jingdezhen,China, Ming dynasty, Xuande mark and period, 1426–35,porcelain with cobalt under colorless glaze, purchase,F1951.13

Ancient Chinese Pottery andBronze

Art for Art’s Sake (American)Arts of the Islamic WorldBuddhist ArtJames McNeill Whistler

Japanese ScreensKoetsu CeramicsKorean CeramicsThe Peacock RoomSmall Egyptian sculpture and

glass vessels

c nnections

WHAT DO MOST PEOPLE SEE when they visit this museum? The objects, of course! Behind the scenes—equipped with microscopes, badger- and goat-hair brushes, and a closet filled with silk fabric—is a group of conservators dedicated to preserving, restoring, and researching those objects. At the Freer Gallery of Artand Arthur M. Sackler Gallery, the Department ofConservation and Scientific Research cares for a collectionof approximately 26,000 objects. These works represent awide variety of materials, cultures, and time periods: froma three-thousand-year-old Chinese jade plaque to delicatepaper leaves from a sixteenth-century Persian album, froma fifteenth-century Japanese unglazed stoneware jar to anineteenth-century oil painting by American artist JamesMcNeill Whistler.

Among the works in this extensive and diverse collec-tion are approximately six thousand paintings from theEast Asian countries of China, Japan, and Korea. In 1932, nine years after opening to the public, the Freer Galleryhired Japanese restorers, thus setting the foundation for what is now the East Asian Painting ConservationStudio—one of the few laboratories in this country dedicated to the conservation of East Asian paintings bytraditional methods. Four full-time staff members—assist-ed by interns and fellows—care for, repair, and remountChinese, Japanese, and Korean paintings.

In this issue, as we retrace the path of a fourteenth-century Japanese hanging scroll on its journey through the East Asian Painting Conservation Studio, we willexplore the science and art behind this specialized work.

WHAT IS

ASIAN ART

?CONSERVATION

CURRICULUM

RESOURCE

P


by Elizabeth Benskin, Educatorfor School and TeacherPrograms, and Victoria Dawson

Persimmon juice, calcium carbonate,and insect wax? Quartz beads, sea-weed gel, and silk? Welcome to theEast Asian Painting ConservationStudio at the Freer and Sackler gal-leries. Years of training and greatpatience, keen attention to detail, andthe ability to make sound scientificjudgments while remaining sensitive toaesthetic concerns are all part of thejob of an art conservator.

Hanging scrolls such as The Deityof Kasuga Wakamiya Shrine are aformat of East Asian painting thatoriginated in China in the seventh toeighth century. Created on paper orsilk, the painting is backed with severallayers of paper and bordered in frontwith silk fabric. When not displayed,the scrolls are rolled up and stored,safe from light damage, insects, anddirt, but also at risk for creases andcracks from rolling.

In 1965, in keeping with the stan-dards of the time, museum conserv-ators remounted The Deity of KasugaWakaymiya Shrine scroll on a flat panel.The practice of remounting Japanesehanging scrolls on wooden lattice pan-els developed in the nineteenth centurywhen Western collectors and museumsbegan acquiring Japanese paintings.Such a format was thought to enhancethe preservation of the artwork byreducing the wear and tear of rollingand unrolling the painting. It alsoaccommodated art handlers, who were accustomed to working withWestern paintings. Now, however, thewisdom of remounting hanging scrollson panels is debated. For one thing,wood resin can discolor the mountedpainting. Maintaining historical and aesthetic authenticity has been anotherconcern. In the case of The Deity of

Kasuga Wakamiya Shrine, it was deter-mined that it was best to return thepainting to the traditional scroll format.

In 2001, after thirty-six years, thispainting underwent conservation torestore its original format as a hangingscroll and to repair areas of damage.

The Process1. DISASSEMBLING

The first step in the conservation of The Deity of Kasuga WakamiyaShrine began simply—with filteredwater. To release the painting from its wooden panel, conservators mois-tened it with water and then lifted theartwork off the panel and detachedthe silk borders.

Next, the painting, face up, wentthrough a process called “pigmentconsolidation.” A solution of animalskin glue was brushed onto areaswhere the pigment was unstable. How had the conservators determined

where the pigment was unstable? Inone case, the white pigment aroundthe deity’s feet had become powdery—the result of the original animal skinglue mixed in the pigments breakingdown and losing its binding ability.

To protect the painting during theprocess of remounting, it was “faced,” orcovered, on the front with rayon paperthat had been treated with seaweed gel,a light adhesive. From there, the paint-ing was placed, face down, on a clearacrylic sheet that was then attached toa light table. By projecting light througha painting, conservators can determinewhat repairs the artwork requires.

Conservators concluded that thefirst layer of backing paper, next to thesilk of the actual painting, was embed-ded with pigment from the painting. To preserve the pigment, they decidedto reattach, rather than replace, the firstlayer of backing paper, thus preservingthe original image.

C U R R I C U L U M R E S O U R C E

The Conservation of a Japanese Painting

THREE-TIER MOUNTING (FIG. 1)

TRADITIONAL BUDDHISTMOUNTING (FIG. 2)

PAINTING PAINTING

UPPER ROLLER ROD

DECORATIVE STRIPS(FUTAI)

OUTER BORDER

INNER BORDER

BOTTOM ROLLER ROD


2. REPAIRING

This was not the first time the paintinghad been repaired. Some time earlier,silk patches had been used to fill holeson the silk, but the result was less thanideal. On the backside, the patchesoverlapped with the silk of the painting,creating an uneven surface and somedarkening around the repaired areas.The conservators removed the oldpatches and, to correct those earlierrepair efforts, they prepared newpatches. These patches were madefrom irradiated silk—silk treated withradiation to age it artificially. The patch-es were then toned to a color slightlylighter than the original silk and appliedto the back of the painting. The con-servators carefully used tweezers toremove any extraneous materialaround the patch.

3. REMOUNTING

Replacing the layers of backing paperis one of the most critical aspects ofremounting a silk scroll painting. Whenconservators reattached the first back-ing layer to The Deity of KasugaWakamiya Shrine, they used newwheat starch paste thinned with wateras an adhesive. If the first layer hadbeen replaced with new paper, theconservators would have used a papermulberry bark, or kozo, paper that hasno filler and is very thin but also issturdy and crisp. With the second layerof backing paper came some subtleadjustments. The wheat starch pastewas not new but aged, allowing formore flexibility during the rolling andunrolling of the stored scroll. Also, forthe second layer, the kozo paper had acalcium carbonate filler, which bothsoftens and gives weight to it and alsohelps it to roll up more easily.

After the second layer of paperwas attached, thin strips of paper,called “crease reinforcement strips,”were applied to areas previously dam-

aged and creased from rolling. Withthis task completed, the painting wasplaced face up and flat on a specialdrying board: a wooden lattice framecovered in layers of paper. To allow themoisture to evaporate from the paint-ing most efficiently, the paper of thisboard had been sealed with persim-mon juice—a natural water repellant.

Next, the conservators—in closeconsultation with the curators—tackledthe critical aesthetic challenge ofselecting the silks for the mounting.The colors of the silk were importantbecause they had to complement boththe painting and its content.

The conservators and the curatorsagreed that the new mounting for The Deity of Kasuga Wakamiya Shrineshould reflect the painting’s Shintosubject matter as well as the Buddhistinfluence on pictorial representationsin Shinto. For this reason, the three-tier mounting was selected (see fig. 1).Features of traditional Buddhistmounting, such as a inner and outerborders and a subtle gold brocade,were also incorporated (see fig. 2).

The next step was to attach themiddle overall lining paper and thefinal backing layer of paper. Paper“pockets” designed to hold the rollerrods were pasted onto the back at thetop and bottom of the hanging scroll,then the last layer of backing paperwas laid in place. Finally, a layer of silkwas attached to the back of the paint-ing at the top to add strength and anadditional layer of protection. Whenthe scroll is rolled up, only this exter-

nal layer of silk—and not the backingpaper—is visible.

Outfitted with its new layers of silkand paper, the hanging scroll proceed-ed to the next stage: drying. Conser-vators applied new wheat starch pasteto all four edges of the hanging scroll,then attached it to the drying board soit would “stretch-dry” tautly like thehead of a drum. For about one week, itlay face down while the paste dried. Aconservator rubbed the back side, orreverse, of the painting with a string ofquartz beads to make the mountingmore flexible. To reduce friction fromthe motion of the beads, the paper wasdusted with a powdered insect-secre-tion wax (ibota). The scroll was turnedover for a second week of drying, andthe conservators began to “in-paint”the newly patched areas where thepigment was missing.

Finally, the conservators splitopen the paper pockets, wrappedthem around the roller rods, and thenattached undecorated gilded copperknobs to the rods. The thicker andheavier bottom rod is designed to aidrolling and to add weight to the bot-tom of the hanging scroll. With theaddition of two decorative strips calledfutai and hanging cords to the top, theremounting of The Deity of KasugaWakamiya Shrine was complete.

How long will this mounting last?A good mounting should last at leastone hundred years and can possiblylast for several centuries. The work ofthe dedicated conservators in the EastAsian Painting Conservation Studioensures that future visitors to theFreer and Sackler galleries will havethe opportunity to see important andbeautiful East Asian paintings in theirbest possible condition.

Special thanks to Jennifer Perry, Jiro Ueda, and

Andrew Hare of the Department of Conservation

and Scientific Research.

Conservators usually use a “round knife” to cutpaper and silk.




Vocabulary

AESTHETICS

related to the beautiful

BROCADE

a silk fabric with decorations that areraised above the fabric surface

BUDDHISM

a religion based on the teachings ofSiddhartha Gautama (ca. 563–ca. 483B.C.E.), called the Buddha (“the enlight-ened one”), who attempted to find ananswer to the cause of human suffer-ing. Buddhism originated in northernIndia and was transmitted to Japanthrough China.

CALCIUM CARBONATE

a compound of calcium, carbon, andoxygen (CaCO3) found in shells andbones

CONSERVATOR

a person who cares for, restores, andrepairs fine art objects

CURATORS

a person who researches works of art,assembles exhibitions, and publishesinformation about museum collections

FUTAI

decorative silk strips attached to thetop of a hanging scroll

GILDED

covered with gold

IBOTA

a waxlike substance made from insectsecretions used to reduce frictionwhen hanging scrolls are rolled andunrolled

IN-PAINTING

the part of the restoration process of applying new pigment to the correc-tive silk patches set into holes in the painting

KOZO PAPER

a strong but flexible paper made frompaper mulberry bark; used as backingpaper in the remounting process

PIGMENT

a colored substance made of mineral,plant, or chemical materials that isused to make paint

REMOUNTING

the process of detaching, repairing, andreattaching a surface to its support; inthe case of a hanging scroll, a paintingmade of paper or silk is detached froma panel or silk borders, and its paperbacking is repaired and reattached toeither a new panel or new silk bordersand fresh paper backing.

RESIN

a sticky substance (usually yellow orbrown in color) secreted by certain trees

SHINTO

the indigenous religion of Japan inwhich deities (kami) are believed toinhabit the natural landscape; kamimay also be revered humans, living or dead

SILK

a strong fabric made from the fibers ofthe silkworm cocoon

SEAWEED GEL

a weak adhesive derived from threedifferent kinds of seaweed and used to adhere rayon paper to the front of a painting in the process of repairingand remounting a hanging scroll

WHEAT STARCH PASTE (NEW)

an adhesive made from wheat starchpowder cooked with water and used topaste the different layers of liningpaper in the process of remounting ahanging scroll

WHEAT STARCH PASTE (AGED)

an adhesive made from wheat starchpowder that is cooked with water andthen aged up to ten years and used to paste the second through the lastlayers of backing paper

BUDDHA FUTAI

TOP LEFT Detail, Four scenes from the life of theBuddha, Pakistan/Afghanistan, Kushan dynasty, late

2nd-early 3rd century, schist, purchase, F1949.9a-d.Detail, The Diety of Kasuga Wakamiya Shrine,

Japan, Muromachi period, 14th century, hanging scroll,ink, color, and gold on silk, purchase, F1964.13.


1) A conservator removes old paperstrips that were used to reinforceareas where creases had damagedthe scroll.

2) Overlapping patches from a previousrepair are evident.

3) After all the linings, repairs, andpatches were removed, the whiteareas show where the scroll is miss-ing original silk.

4) A conservator uses a paste brush toapply seaweed gel to a temporaryfacing made of rayon paper.

5) Conservators carefuly realign the silkweave on the back of the paintingwhile it is still moist.

6) The temporary facing is removed afterthe painting is infilled with silk and thefirst paper lining layer is applied.

7) New reinforcement strips covercreases after the second paper liningis added.

8) To assure adhesion, silk mountingfabrics are gently hammered intoplace.

9) A conservator uses a tamping brushto apply a middle layer of paper overthe scroll.

10) With great skill and precision, a con-servator carefully tones tiny areas ofthe new silk.


1 2

3 4 5 6

7 8 9 10

BEFORE DETAIL


Conservation in ActionIt takes a steady hand,great patience, and years of training to preserve awork of art successfully and delay its deterioration.These photographs showthe process conservators at the Freer Gallery of Artfollowed when they repairedthe scroll The Deity ofKasuga Wakamiya Shrine.



The

Dei

ty

of K

asug

aW

akam

iya

Shri

ne


Japa

n, M

urom

achi

per

iod

(133

3–15

73),

14th

cen

tury

Han

ging

scr

oll;

ink,

col

or, a

nd g

old

on s

ilk17

6.2

x 54

.1cm

mou

nted

Pur

chas

e, F

1964

.13

The

Shi

nto

god

of t

he W

akam

iya

shrin

e, lo

cate

d in

the

Japa

nese

city

of

Nar

a (n

ear

Kyo

to),

is p

ortr

ayed

her

e as

a yo

ung

nobl

eman

dre

ssed

in a

gre

en r

obe

deco

rate

dw

ith d

elic

ate

gold

pat

tern

s. H

e st

ands

on

a ro

cky

plat

eau

that

is in

tend

ed t

o su

gges

t to

the

vie

wer

the

ear

thly

site

whe

re h

is s

pirit

res

ides

. In

Japa

n, t

he g

ods

(kam

i)of

Shi

nto

wer

e of

ten

wor

ship

ed a

s un

seen

spi

rits

who

resi

ded

in s

peci

fic p

lace

s. B

egin

ning

in t

he t

hirt

eent

hce

ntur

y, ho

wev

er, t

he p

rodu

ctio

n of

pai

ntin

gs o

f S

hint

ode

ities

incr

ease

d du

e to

the

pro

mot

ion

of id

eas

linki

ngsp

ecifi

c ka

miw

ith B

uddh

ist

gods

. Bud

dhis

m h

ad a

long

hist

ory

of r

epre

sent

ing

Bud

dhis

t fig

ures

in p

aint

ings

,pr

ints

, and

scu

lptu

res.

Shi

nto

deiti

es w

ere

usua

lly

depi

cted

with

hum

an f

eatu

res

and

very

litt

le in

dica

tion

of t

heir

supe

rnat

ural

iden

titie

s.



By Faith Deering, Entomologist,Science Educator

Repairing and remounting a Japanesehanging scroll is a highly skilled andpainstaking process that involves aes-thetic choices as well as scientificknowledge of physics, chemistry, andbiology. Conservators must under-stand the properties of light, pigments,temperature, humidity, fibers, metals,force, pressure, and tensile strengthbefore they repair a scroll. One impor-tant scientific process is the “chem-istry of adhesion,” which is how mole-cules link up to form substances, suchas glue and paste, that are capable ofbinding materials together.

Types of Adhesives Used inthe Conservation Process

Four main kinds of adhesives wereused during the long and carefulprocess of remounting The Deity

of KasugaWakamiyaShrine. Theseadhesives comefrom natural

materials

(not synthetics) and have been usedfor centuries. The adhesives used byconservators in the Department ofConservation and Scientific Researchat the Freer Gallery of Art were pre-pared in traditional ways and appliedusing brushes and other tools madespecifically for this purpose.

ANIMAL SKIN GLUE: This glue isobtained primarily from cattle hidesthat come from meat packing housesor tanning factories. Occasionally,deer, horse, or rabbit skins are used.The hides are rinsed several times insolutions of water, lime, andmild acid. Next, the hides aresoaked in large kettles filledwith water. After hours ofcooking, the hide forms athick gelatin that is drainedand filtered, and the water isevaporated from it. Once thesolution cools, it formsa thick, jelly-likeglue due to thepresence ofcollagen, theprimary struc-tural proteinfound in all animals. Collagen exists aslong fibrous, polymer molecules thatare flexible and cohesive.

FRESH WHEAT STARCH PASTE:

Water mixed with wheat flourforms the traditional paste used for making papier-mâché and wallpaper paste. The gluten is separated from wheat flour leaving

starch. This starch is cookedin water to make the

wheat starch pasteused in the conserva-tion process.

AGED WHEAT STARCH PASTE: To pro-duce this adhesive, fresh wheat starchpaste is aged for up to ten years.Traditionally, this paste was aged underbuildings in earthen pots placed in

cool, ventilated storage areas.During the first five years

of the aging processmold grows on the sur-face of the paste. This

mold is then periodicallyscraped off until the mold

culture eventually dies. Ultimately, theaged paste, or “cold paste,” turns anopaque yellowish white and becomesstiff and granular. When it is used, thepaste is mixed with water to anextremely thin consistency. Agedwheat paste is used in the restorationprocess when a very flexible adhesiveis needed.

SEAWEED GEL: This gel is derivedfrom three kinds of seaweed. The sea-weed is washed, soaked overnight inwater, and then dissolved by heating.The resulting liquid is then passedthrough a straining cloth. Seaweed gelcan be mixed with animal skin glue orwheat starch paste to make themmore flexible.

The Paste in the Scroll

ABOVE Sieve and paddle used to strain wheatstarch paste. CLOCKWISE FROM BELOW RIGHT

Brushes used to attach mounting materials,apply water, and tamp paper layers together.



Brainstorming Session

Gluing and pasting are familiar activi-ties, but what materials might be considered adhesives? During a brain-storming session, students might thinkof egg white, boiled rice, cooked pasta,boiled oatmeal, plant sap, pine pitch,honey, and sugar-and-water solutions.

Comparing Paste and Glue

Powdered wheat paste is available athardware and paint stores. Mix withwater and create thicker and thinnersolutions to test their adhesion. Alsomix ordinary white wheat flour withwater to test its adhesion. (Cookedand non-cooked recipes for wheatpaste are available on the Internet).Handmade wheat flour paste can betested against commercial wheatpaste and white glue. Students canthen brainstorm as to which useswould be best for each of the different adhesives.

> How long does it take to adhere to asurface? Is the paste water soluble?Are the two pieces of paper flexibleafter being pasted together? Whatcolor is the glue or paste when itdries? Is it transparent or opaque?

Scroll BookmarkTHIS ACTIVITY IS SUITABLE FOR ELEMENTARYAND MIDDLE SCHOOL STUDENTS.

The scroll bookmark project introducesstudents to the process of layering paperand pasting. It also makes them familiarwith grasses as a source of gluten(wheat paste, for example). This simpleproject results in a creative bookmarkthat the students can use. The complet-ed bookmark is not meant to representa scroll. The importance of this projectis the process and the opportunity stu-dents have to use wheat paste and towork with materials that require pasting.

Materials

> Small dry grasses or grass likeweeds (collected locally)

> Manila folders (oak tag stock), cutinto 2-x-8-inch rectangularstrips; one per student

> White tissue paper, cutinto 3-x-9-inch rectangularstrips; one per student

> White glue such as Elmer’s

> Prepared wheat paste(hardware or paint storessell common wallpaperpaste)

> Heavyweight decorativeJapanese papers (color-ful mulberry papers are available at local craftstores), cut into 5-x-11-inch rectangular strips;one per student

> Raffia or silk ribbon, cutinto 15-inch strips

> Small bamboo or goldmetallic beads (availableat local craft stores); twoper student

Create!

1. Collect enough short,thin-stemmed or weedlikegrasses, 7 to 8 inches in height, for one per student. Sturdy grassesgrowing in sidewalk cracksor along playing fields are perfect for this project. Keep theroots with the plant when pick-ing, but remove any clinging soil.2. Sandwich each plant betweennewspapers and press overnightbetween heavy books3. Remove the dry, flattened grassplant from the “book press.” Use dabsof glue to attach one grass to eachmanila strip. Let dry.

4. Using a clean paintbrush, spread athin, even layer of premixed wheatpaste over the entire surface of eachmanila strip. While the wheat paste isstill wet, position one piece of white

tissue paper over eachmanila strip and settle itinto place. The tissue papershould extend over eachedge by half an inch.Gently press the tissuepaper closely around thegrass stem to reveal itsform as distinctly as possi-ble. The tissue paper willimmediately become softand fragile. Lifting the tis-sue paper to re-position itwill cause it to rip, so becareful! A few wrinkles arefine and will add to thebookmark’s beauty. 5. Place the manila stripsunder stacks of books, andlet them dry thoroughlyovernight. 6. Once the strips are dryand pressed flat, trim awaythe excess tissue paperaround the edges. 7. Center and glue eachmanila strip to a strip of

decorative Japanese paper. When it isdry, use a paper punch to make onehole at the bottom of the backing strip8. Pass a piece of raffia or ribbon

through the hole and knot it into place.9. Thread the beads onto the raffia or ribbon, and tie them intoposition. This tassel will be 3 to 4inches in length.Read a good book and use your

new bookmark to save your place!

Activity: Scroll Bookmark



IThe Day of Ahmed’s Secretby Florence Parry Heide and JudithHeide Gilliland, illustrated by Ted Lewin

In conjunction with a multiple-visit pro-gram coordinated with the Washington,D.C., public school system, the educa-tion department of the Freer andSackler galleries recommends picturebooks and chapter books on Asia andthe Middle East for teachers to use intheir classroom. In this issue, we fea-ture The Day of Ahmed’s Secret, apicture book about a young boy’s dayin Cairo. (Please note that while Egyptis in Africa, it is part of what is termedthe Islamic world and, as such, is rep-resented, along with other MuslimNorth African countries, in the Freerand Sackler collections.)

It follows Ahmed as hetravels through the streetsof Cairo delivering butanegas to customers. Vividillustrations capture aes-thetic aspects of life in thisEgyptian city that mirrorvisual elements common to the Islamic world. Hissecret, revealed in the end,reaches to the heart ofIslamic art and culture andtouches on the universalhuman themes of patience,hope, effort, and pride.

This excellent book is currentlyavailable in the Sackler shops. Visithttp://www.freersacklershop.com/(click on “Education Materials”) or call202.633.0535 to order.

Here are curriculum connections for The Day of Ahmed’s Secret, devel-oped by Toni Conklin of BancroftElementary School in Washington, D.C.

Literature on Asiain the Classroom


PART I: LISTS

OBJECTIVE

Students work in groups to compilelists that will help them explore andappreciate this rich text.

ACTIVITIES

1. Read the book to the whole class. 2. Divide students into groups of five.Each group can be involved in a dif-ferent activity and rotate to the nextactivity within a given time or onanother day. 3. One group will construct “lists”from this book, so there will have tobe one book per child.4. Students should search through-out the book for the following itemsand make a “group list” for eachtopic: colors, foods, noises, trans-portation, jobs, clothes, other.5. Finally, make a list of the waysAhmed is the same as the studentsin the classroom, and the waysAhmed is different.6. After all groups have had achance to compile their lists, thewhole class will share, discuss, andmake composite lists. These lists canbe used in some of the other activi-ties suggested below.

PART II: CITIES

OBJECTIVE

Students compare Cairo to their owncity using a Venn diagram.

ACTIVITIES

1. Students find Cairo, Ahmed’s city,on a map.2. After the students reread the book, they should look at their listsand think of ways to compare Cairoto the city or town they live in or near.3. Students can expand their compar-ison to information about both citiesby researching other books, watching

documentary videos, or looking onthe Internet. Other information mightinclude population, geographic size,seasons, and average temperature. 4. Working in groups or pairs, stu-dents should create a Venn diagramthat points out similarities as well asdifferences. 5. Extension: Students choose one of the book’s illustrations of Cairoand write a description of it. Theyshould look at illustrations at thebeginning of the book that highlightthe “old” parts of the city and alsothose at the end that feature its“modern” aspects. The descriptionshould include actions, all senses(sound, sight, touch, smell, and taste),and at least two comparisons.Students can then read their descrip-tions out loud and classmates can tryto determine which picture was writ-ten about.

PART III: WRITING YOUR NAME

OBJECTIVE

Students write a narrative about whenthey learned to write their name andthe importance of being able to write.

ACTIVITIES

1. Reread the last page of the bookThe Day of Ahmed’s Secret.2. Ask students to “pair share” theiropinions on whether or not a hand-written “name lasts longer than thesound of it and maybe even, like theold buildings in the city, a thousandyears.” Would Ahmed feel differentlyif he knew more about modern tech-nology? Why do we suspect he doesnot know much about it?3. Ask partners to share ideas withthe entire class.4. Students should then write aboutlearning to write their name.

> When, where, and how did theylearn?

> Describe an experience they had“writing” a story or a poem thatwas memorable.

> Student narratives should includetheir own conclusions aboutwhether writing is important intoday’s world and why.

PART IV: A DAY IN THE LIFE

OBJECTIVE

Students compare a day in their ownlives to Ahmed’s day.

ACTIVITIES

> Students divide a piece of linedpaper into two columns.

> On one side write down whatAhmed does, what he travels on,eats, says, and thinks about at aspecific part of the day. On theother side write what they do atthat approximate part of the day.

PART V: POETRY

OBJECTIVE

Students write a poem demonstratingan understanding of Ahmed and hisworld.

ACTIVITY

Students will complete the followinglines based on what they know aboutAhmed. Finish each sentence with adifferent concept from the book.

Each student can substitute his/herown name for “Ahmed” and rewritethe poem about him/herself.

Ahmed knows…Ahmed wants…Ahmed hopes…Ahmed feels…Ahmed sees…Ahmed smells…Ahmed notices…

Ahmed tastes…Ahmed is proud

that…Ahmed hears…Ahmed won’t…Ahmed writes…

T



Michael Wilpers, PerformingArts Programmer

The Freer and Sackler’s extensive collections from the Arab world includeworks from Egypt. Music can enhancethe teaching of Egyptian art and histo-ry by making it a starting point fordiscussion on a variety of historicaland cultural topics. Reading The Dayof Ahmed’s Secret (see page 14) isespecially suited to music, since thebook contains several references tosound. Students can imagine Ahmedhearing secular music and religiouschants emanating from Cairo’s cafes,apartments, churches, mosques, andtaxi cabs. For older students, musiccan inspire discussions and researchon the modern use of musical instru-ments from ancient Egypt (lutes), theimpact of European colonialism (theaccordion and violin), the social effectsof the construction of the Aswan Dam(Nubian immigrant music in Cairo), andglobalization (dance-beat remixes oftraditional songs), among other topics.

The single most versatile musicCD for teaching about Egypt is prob-ably Egypt: Echoes of the Nile (1997,Multicultural Media). Its wide-rangingmusic selections can contribute todiscussions of Christianity in Egypt(Coptic church bells, Gospel recita-tion, and a wedding procession), theeveryday practice of Islam (the call toprayer and recitation from the Koran),the medieval science of Arab music(solo lute improvisation), and forceddislocation (Nubian drum rhythms andfolk songs).

Music from the villages of centralEgypt is beautifully captured on TheMusicians of the Nile: Luxor to Isna(1989, Real World Records), with tradi-tional hand drums, fiddles, oboes, dou-ble-clarinet, and vocals conveying theimpressive virtuosity of these tradition-al artists. Two tracks that nicely com-plement The Day of Ahmed’s Secret

present the sound of ahorse-pulled carriage anda noisy street procession.Notes included with theCD describe how fiddlesand drums are made in aremote fishing village (using clay,coconut, ebony, horsehair, and fish andgoat skin). They also discuss the simi-larities between arabesque visual artstyles, with their unending curves, andthe unbroken melodies created byoboe players through a techniquecalled “circular breathing.”

In a seminal episode of modernEgyptian history, millions of Nubianswere forced to relocate to Cairo afterthe flooding of their homeland by theAswan Dam. Students can hear a mov-ing lament to this lost land on trackseven of Ali Hassan Kuban: FromNubia to Cairo (1991, Shanachie). Hismore rollicking jazzy music is heardon The Rough Guide to Ali HassanKuban (2002, World Music Network).Compared to Arab music, the lowerpitch and straightforward melodies ofNubian music are complemented bymore drums and complex rhythms.After hearing a New York jazz groupin Cairo in 1948, Kuban revolutionizedNubian wedding music by addingtrumpets, saxophones, drum kits, and electric instruments. Althoughthey represent 20 percent of Cairo’spopulation, Nubians rarely hear theirlanguage or music on mainstreamArabic-language radio, TV, CDs, ormusic videos.

The singular career of concert andfilm singer Umm Kulthum embodiedmuch of Egyptian history and culturein the twentieth century. It is said that,to understand her impact, one mustimagine the vocal power of opera starMaria Callas, the soulfulness andcharisma of Louis Armstrong, and themagnetism of Elvis Presley. An excel-lent documentary is Umm Kulthum: AVoice Like Egypt (1996, Arab Film

Distribution, Seattle).In addition to coveringher rural roots, hercollaborations with

poets and composers,and her role in Arab

nationalism, the film includescompelling concert footage show-

ing her tremendous hold on audiences.She and four other concert and filmsingers are heard on The Story ofArabic Song (2000, EMI/HemisphereArabia). Students will marvel at AhmedFathy, the amazing twelve-year-oldsinger heard on Salam Delta: SalamatMeet Les Musiciens du Nil (1994,Piranha). This concert and film musicgenre combines Western violins andmodified accordion, played in a dis-tinctly Arab style, with indigenous flute,zither, and drums and the florid, oscil-lating vocal style of the Middle East.

Widely heard in Cairo today isEgyptian pop music, influenced byWestern funk, hip-hop, R&B, disco,jazz, Latin, and electronica. ArabGroove (2001, Putumayo World Music)features Egyptian artists on severaltracks. Western brass instrumentsand electric keyboard and bass join Arab lutes, zither, and vocals tocreate a fusion style with a MiddleEastern basis.

Egyptian Music forthe Classroom

The life and music of the preeminent Arabsinger Umm Kulthum opens a unique window tomany aspects of Egyptian history and culture.


Student tours are tailored for a uniquelearning experience that emphasizesthe art of looking closely at objects.Docents employ writing activities,storytelling, and the use of hands-onobjects to engage students’ interests.Individual tours are grouped by ageand classroom curriculum.

ANIMALS IN ASIAN ARTLIMIT: 45 studentsRECOMMENDED FOR: grades K–3TIME: 45 minutesHunt for animals—real and imaginary—seen in the arts of China, Japan, theIslamic world, South Asia, and theNear East. Students expand theirvocabulary by learning about color,shape, and texture.

THE PRINCESS AND THE PEACOCKSLIMIT: 20 students (with at least 3chaperones)RECOMMENDED FOR: grades K–3TIME: 45 minutesThe Peacock Room, decorated byAmerican artist James McNeill Whistler,is one of the most important treasuresin the Freer Gallery. Students read ThePrincess and the Peacocks and talkabout Whistler’s inspiration for theroom’s decoration.

THE ART AND ARCHAEOLOGY OF ANCIENT CHINA LIMIT: 45 studentsRECOMMENDED FOR: grades 3–6TIME: 60 minutesAncient Chinese bronzes and jades,with their distinctive material qualitiesand imaginative imagery, are the focus

of this tour of works dating from thelate Neolithic period (5000–2000 B.C.E.)to the Han dynasty (206 B.C.E.–220 C.E.).

HANDS-ON TUESDAYSLIMIT: 45 participants total (includingchaperones)RECOMMENDED FOR: grades 3–8After participating in a tour about China,Japan, or the Islamic World, studentscomplete a hands-on activity in themuseum’s education classroom. Thesespecial tours are offered only on Tues-days from 10 A.M. to 12:15 P.M.

HOW TO LOOK AT ASIAN ART: PROCESSES, FUNCTION,AND MEANINGLIMIT: 60 studentsRECOMMENDED FOR: grades 3–12TIME: 60 minutesExamine the distinctive qualities of art from three of these areas: Japan,China, the Islamic world, South Asia, or the Near East. Students learn aboutthe techniques and materials used asthey discuss an object’s meaning andfunction. This is also offered as aseries of three tours.

INTRODUCTION TO JAPANESE ARTLIMIT: 45 studentsRECOMMENDED FOR: grades 3–12TIME: 60 minutesStudents explore the Freer’s unparal-leled collection of Japanese screens,paintings, ceramics, and sculpture.They examine the objects’ formalqualities and their importance inJapanese culture.

ASIAN RELIGIONS: HINDUISM,ISLAM, AND BUDDHISMLIMIT: 45 studentsRECOMMENDED FOR: grades 6–12TIME: 60 minutesIn comparing three of the major reli-gions represented on the continent ofAsia, students discuss key principlesand practices of each as seen in theiconography and formal elements ofits art. This is also offered as a seriesof three tours.

SURVEY OF CHINESE ARTLIMIT: 45 studentsRECOMMENDED FOR: grades 7–12TIME: 60 minutesThe diversity and richness of Chineseart, from the Neolithic period throughthe twentieth century, form the basisof this tour of bronzes and jades, luxu-ry goods, painting, and calligraphy.

THE ART OF THE ISLAMIC WORLDLIMIT: 30 studentsRECOMMENDED FOR: grades 7–12TIME: 60 minutesAn introduction to Islam frames stu-dents’ understanding of both secularand religious paintings, calligraphy,ceramics, and metalwork.

THE ART OF BUDDHISMLIMIT: 30 studentsRECOMMENDED FOR: grades 7–12TIME: 60 minutesStudents become familiar with the history, beliefs, and cultures associatedwith Buddhism as they examine thecharacteristics of objects from Southand Southeast Asia, China, and Japan.

THE ART OF HINDUISMLIMIT: 30 studentsRECOMMENDED FOR: grades 6–12TIME: 60 minutesImages of Shiva, Vishnu, and other Hindudeities, as well as the context in whichthese dynamic objects were displayedand used, provide the basis for thisexploration of Hindu art.

CHARLES LANG FREER, COLLECTORLIMIT: 60 studentsRECOMMENDED FOR: grades 9–12TIME: 60 minutesDiscover how the Freer Gallery ofArt, a major repository for Asian art,came to include a collection of worksby nineteenth-century Americanartists, including Whistler, Dewing,and Thayer. Students learn aboutFreer and his vision for the first artgallery on the National Mall.

TOURS We can accommodate large groups! Call the tour scheduler at 202.633.0445,or e-mail [email protected] to make arrangements.*

* Due to ongoing gallery installations, some tours or objects may be unavailable.


TEACHER RESOURCES 2004-2005

Free Biannual NewsletterASIAN ART CONNECTIONS:

A RESOURCE FOR EDUCATORSOur biannual educational newsletterfeatures temporary exhibitions andincludes one or more featured objectreproductions, exhibition information,curriculum connections, classroomactivities, book reviews, and more.Asian Art Connections is free ofcharge. To subscribe, please write to [email protected].

Online Resources: GeneralONLINE EDUCATIONAL RESOURCEShttp://www.asia.si.edu/education/onlineGuides.htm

FREER AND SACKLER COLLECTIONS

http://www.asia.si.edu/collections/default.htm> An excellent resource for colorimages of objects in the Freer andSackler collections

ONLINE EXHIBITIONS

http://www.asia.si.edu/exhibitions/online.htm> Interactive online exhibitions basedon past and present gallery exhibitions

TOUR INFORMATION

http://www.asia.si.edu/education/toursForStudents.htm> Learn about the tours we offer andhow to reserve them

Online Resources:PublicationsASIAN ART CONNECTIONS:A RESOURCE FOR EDUCATORShttp://www.asia.si.edu/education/ConnxsFall03.pdf> Read an issue of the newsletteronline.

THE ART AND ARCHAEOLOGY OF ANCIENT CHINA: TEACHER’S GUIDEhttp://www.asia.si.edu/education/onlineGuides.htm> Learn about art and society inancient China. Also available for sale

with color reproductions. (See “TeacherResources for Sale” below)

THE ART OF BUDDHISM: A TEACHER’S GUIDEhttp://www.asia.si.edu/education/ArtofBuddhism.pdf> Learn about Buddhism and its artis-tic tradition. Also available for sale withcolor reproductions. (See “TeacherResources for Sale” below)

THE ARTS OF THE ISLAMICWORLD: A TEACHER’S GUIDEhttp://www.asia.si.edu/education/islam.pdf> Learn about Islam and the diversearts of the Islamic world. Also availablefor sale with color reproductions. (See“Teacher Resources for Sale” below)

DEVI: THE GREAT GODDESShttp://www.asia.si.edu/education/devi/index.htm> Learn about the aspects of theHindu goddess Devi

JAPAN: IMAGES OF A PEOPLEhttp://www.smithsonianeducation.org/educators/lesson_plans/japan_images_people/index.html> An introduction to Japanese painting

PUJA: EXPRESSIONS OF HINDU DEVOTIONhttp://www.asia.si.edu/education/pujaonline/puja/start.htm> Learn about Hindu beliefs and practices. Companion video availablefor sale. (See “Teacher Resources for Sale” below)

Teacher Resources for SaleSACKLER GALLERY SHOPSAll teacher resources listed below areavailable for sale through the SacklerShops. Order these materials online athttp://www.freersacklershop.com/, by phone at 202.633.0535, or by fax at 202.633.9838. In addition to Freer-Sackler publications, the shops alsostock children’s books on Asia

recommended by our EducationDepartment.

THE ART AND ARCHAEOLOGY OF ANCIENT CHINA: A TEACHER’S GUIDEAPPROPRIATE FOR: grades 3–12An introduction to important aspects ofancient Chinese art and society. Thisguide includes background information,four lesson plans, a music resourcesection, information on the contempo-rary practice of ancestor worship, localand national resources, 8 x 10 colorreproductions, and a CD–ROM, “Chi’sAdventure in Ancient China.” $20

THE ART OF BUDDHISM: A TEACHER’S GUIDEAPPROPRIATE FOR: grades 4–12 This resource packet introduces edu-cators to Buddhism, its cross-culturalimpact, and its artistictradition. Backgroundinformation, Buddhiststories, a “BuddhismToday” section, fourlesson plans, localand nationalresources, and 8 x 10 colorreproductionsof featuredobjects areincluded.$20

THE ARTS OF THE ISLAMICWORLD: A TEACHER’S GUIDEAPPROPRIATE FOR: grades 4–12Explore the diverse artistic traditions ofthe Islamic world. This guide includesbackground information, an “IslamToday” section, five lesson plans, localand national resources, and 8 x 10 colorreproductions of featured objects. $20

VideoPUJA: EXPRESSIONS OF HINDU DEVOTIONThis video introduces Hindu worshipthrough moving images and inter-views. It received a Bronze AppleAward from the National EducationalMedia Network. 1996. 20 min. $10.(close captioned)

CD-ROMCHI’S ADVENTURE IN ANCIENT CHINA APPROPRIATE FOR: grades 3–6 Join Chi the chimera as he introducesviewers to ancient Chinese civilizationthrough objects from the Freer andSackler collections. A variety of topics,including clothing, transportation, cere-monies, and food preparation, arecovered. It includes review activi-ties and a quiz for students.Teachers can track studentwork from a special “Teacher’sLounge.” $10.

CDSILK ROAD STORIESAn audio CD of stories told by Freerand Sackler volunteers who have cul-

tural ties tocountries alongthe ancient SilkRoad featuresevents fromChina, Japan,Turkey, andBangladesh. $10.

SILK ROAD RESOURCE PACKET This resource packet includes back-ground information, six full-color artcards featuring objects from Silk Roadcultures, a color poster with a map ofthe Silk Road marked by additionalobjects from Smithsonian museums,

classroom activities developed byeducators, resources, vocabulary,and an audio CD of stories toldby Freer and Sackler volunteerswith ties to countries along theancient Silk Road. $12.

Rights and ReproductionsDepartmentThe Rights and ReproductionsDepartment offers slide sets of Freerand Sackler collection highlights. Eachset is available as 35 mm slides or asdigital images on a CD. The cost is$100 for a set of 40 images. Individualslides or digital images can be pur-chased for $5 each. The followingslides sets are currently available.

> American Art> Chinese Art> Islamic Art> South Asian Art

To preview the sets or to order online,go to http://www.asia.si.edu/visitor/rnr.htm and click on “Slide Sets Now Available!” Order sets by fax at 202.633.9770.


To order curriculum packets, CD-ROMs, CDs, and videos by mail, complete this form and send it to:

Smithsonian InstitutionP.O. Box 37012Sackler Gallery Shops, MRC 707Washington, DC 20013-7012

Please make checks payable to Sackler Gallery. Shipping andhandling are included in all prices. Unfortunately, we are nolonger able to accept purchase orders.

For additional information, call 202.633.0483; fax 202.633.9838;or e-mail [email protected].

TITLE OF PACKET, CD –ROM, CD, OR VI DEO QUANTITY U N IT PR ICE

TOTAL

NAM E DATE

SCHOOL NAM E ( I F APPLICAB LE)

G RADE(S)

S U BJ ECT(S)

PHON E

ADDR E SS

CITY COU NTY STATE Z I P

LEFT TO R IGHT Detail, Seated Buddha, Central Tibet,14th century, gilt copper with pigment, purchase—Friendsof Asian Arts in honor of the 10th anniversary of theArthur M. Sackler Gallery, S1997.28. Chimera, China,Eastern Han dynasty, ca. 25–220 C.E., bronze, purchase,F1961.3.

ORDER FORM

COVER

ImaginAsia

Smithsonian InstitutionFreer Gallery of ArtArthur M. Sackler GalleryP.O. Box 37012, MRC 707Washington, DC 20013-7012

Official BusinessPenalty for Private Use $300

Pre-Sort StandardPostage and Fees

PA I DSmithsonian Inst.

G94

In our popular family program, childrenages six to fourteen accompanied byan adult use an activity book toexplore an exhibition and create arelated art project to take home.Family programs take place on thedates and times listed at

www.asia.si.edu and do not require a reservation. Fall offerings includespecial programs related to DreamWorlds: Modern Japanese Prints and Paintings from the Robert O. Muller Collection.

Hours10 A.M.–5:30 P.M. dailyClosed December 25Admission is FREE

Phone NumbersRecorded information: 202.357.3200General information:202.633.4880 (weekdays)202.357.2700 (weekends)202.786.2374 TTY (weekdays) www.asia.si.edu

Food ServiceFor information on food services at theSmithsonian, call 202.357.2700.

TransportationRide the Metro’s orange or blue line toSmithsonian Station. Parking near theNational Mall is extremely limited.

LibraryThe museum’s noncirculating researchlibrary specializes in Asian art as wellas American painting at the turn of thetwentieth century. It is open weekdays

from 10 A.M. to 5 P.M., except for federalholidays. Access to the slide libraryand archives is by appointment only. Call 202.633.0477.

AccessibilityAccessible entrances to the Freer and Sackler galleries are located onIndependence Avenue. Wheelchairsare available at the guard’s desk ateach museum entrance. Informationis available in large type or braille,and on audiocassette or disk.

Freer Gallery of Art

Jefferson Drive at 12th Street, SW

Washington, D.C. 20560-0707

Arthur M. Sackler Gallery

1050 Independence Avenue, SW

Washington, D.C. 20560-0707

© 2

004

Sm

ithso

nian

Inst

itutio

n

VISITOR INFORMATION

Documents

THE EAST ASIAN PAINTING CONSERVATION STUDIO