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In Tibet, religious paintings come in several forms, including wall paintings, thangkas (sacred pictures that can be rolled up), and miniatures for ritual purposes or for placement in household shrines.

Thumri, a light vocal classical music genre is said to have evolved in North India in the mid-19th century court of Nawab Wajid Ali Shah of Lucknow to accompany the kathak dance form, one of the eight major classical dance forms of India. This program presented by Pandit Rai and Sinha evokes the court ambience of 19th-century and early 20th-century India with a fully choreographed performance of dance, music, and storytelling, depicting the close interaction between these two major art forms.

Throne for a Buddha image, 1850–1900. Burma. Lacquered and gilded wood and metal with mirror inlay. Gift from Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.1.

Calligrapher Cai Xingyi writes an excerpt from the Thousand-Character Classic in semicursive script. The Thousand-Character Classic in clerical script, written by calligrapher Wen Peng (1498–1573) will be on view at the Asian Art Museum during the exhibition, Out of Character: Decoding Chinese Calligraphy (October 5, 2012–January 13, 2013).

Theatrical headdress for the magical deer in the Story of Rama dance-drama, approx. 1950–1960, Central Thailand. Papier-mache, glass, and mixed media. Gift from Doris Duke Charitable Foundation’s Southeast Asian Art Collection, 2006.27.10.9.

Writing was so valued by the Chinese that they called the most essential implements for the art The Four Treasures–the brush, ink stick, ink stone, and paper.

Explore this interactive map.

Storyteller, Ann Riley, tells a Japanese folktale about a mysterious teabowl with the use of artworks from the Asian Art Museum’s collection.