Exhibition: The Knowledge Festival of University of Indonesia

Exhibition: The Knowledge Festival of University of Indonesia

Event Category The Exhibition
Event Date March 13, 2019
Participants

Scholars, entrepreneurs, collectors and public.

Hosted by

University of Indonesia Library

Venue

University of Indonesia Library

Crystal of Knowledge Building, Kampus UI, Depok – Indonesia

University of Indonesia, Jakarta, 13th – 16th March 2019.

Exhibition: The Knowledge Festival of University of Indonesia
Exhibition: The Knowledge Festival of University of Indonesia

The exhibition was a collaboration of two institutions, University of Indonesia and Asean Museum attended by entrepreneurs from reputable enterprises across Jakarta. The event also exhibited a wide range of artworks and handicrafts from Indonesian artists and crafters. For three days, the event also held workshops, debriefing between entrepreneurs and participants, and Asian artworks clinic service to visitors that was coached by Aminudin from ARCA (Asian Art and Culture Association) under patron of Asean Museum. This exhibition was intended for visitors who are interested in cultural history and aesthetics of Chinese artworks.

The artworks exhibited by Asean Museum were to focus on the Asian artworks, particularly Chinese arts that the exhibition is called “Lost but not Forgotten.” The exhibition provided all sorts of Chinese artworks, from monochrome, polychrome and blue and white ceramics. There are more than 100 artworks specifying the kind of cultural history that was taking in Indonesia regions during 5th – 18th century. The early cultural Chinese history itself could be traced back from the time of 18000–7000 BC during Xianreng Cave Culture period in China. The earliest ceramic was produced during Nanzhuangtou Culture (8500–7700 BC). Over 47 potteries were discovered under a peat bog, located in Yellow River region in Southern Hebei. In later period, during the Neolithic period, China had a sacrosanct position and ceramics produced became more detailed, built fortified towns, and developed better practice relating to ritual burial purposes, rather than for daily use. Likewise, in subsequent periods, the Chinese ceramic was produced and then developed in various forms and designs with the specific taste and spirit of its respective era.

Therefore, most Asian collectors have a set of fine Chinese ceramic that is reserved for only the most special of occasions. Usually, these pieces are handed down from one generation to the next. It was produced to satisfy a specific set of individual or society in consonant with its period. It has respective aesthetic, eclectic and historic value. No one could ascertain its authenticity just by relaying on his/her taste “good” or “bad”. Even if a Chinese ceramic depicts something absurd or uncommon design, decoration, colors or glaze, someone is bound to find enjoyment in it as every piece has different and specific characteristic rather than someone judges its authenticity based on what would be deemed “good” or “bad”.

Chinese ceramics exhibited by Asean Musuem aroused the perception of the visitor in his or her personal journey in the exhibition. However, throughout the journey, Aminudin provided a detailed information of physically attributes on respective Chinese ceramics that gave the visitors of all age groups a better understanding of ancient Chinese ceramics.

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