The Decorative Experience
Hornbill Headdress, Democratic Republic of the Congo, early 20th century
Art is a universal of human culture. No culture is known where some form of aesthetic expression does not occur. Artistic expression can be traced archaeologically to at least 40,000 years ago, possibly much earlier, and appears to be an inherent part of the human personality.
For the permanent exhibition, The Decorative Experience, we have selected 175 items from the Museum’s collection that embody an aesthetic component. These come from cultures and societies throughout the world and range in age from 2400 B.C. to the 21st century. Every type of medium is represented in the objects – ceramics, textiles, stone, metal, glass, wood, paint, bone, shell, and combinations of these. Almost all of the items in the exhibition were acquired as gifts, many coming to the University before the Museum opened in 1961.
Equestrian Drummer, China, Tang Dynasty, 618-907
As one enters the gallery, the first and second cases are devoted to objects from Africa. Providing colorful backdrops are two large textiles, one a large section of cloth from the Fante people, Ghana, and the other a large Zemmour rug from Morocco. Other items in the case come from Sudan, The Democratic Republic of the Congo, Zimbabwe, Uganda, Ethiopia, and Mali.
The third case is one of four on China and is dominated by a large stone sculpture of two Buddhas dating to the Northern Wei dynasty (A.D. 326-535). Included in this case are a Neolithic jar (ca. 2400 B.C.) and a painted ceramic warrior figure from the Han dynasty (206 B.C. - A.D. 220). Case four is devoted to the Tang dynasty (A.D. 618-907) and contains a number of colorfully glazed ceramic containers and figures along with examples of Tang silver work.
Helmet, Japan, circa 1550The fifth section is a platform exhibiting two Chinese chairs from the Ming (1368-1644) and Qing (1644-1911) dynasties, a large jar from the Qing Kangxi period (1662-1722) and ceramics from the Song (960-1126) and Yuan (1279-1368) dynasties. The last Chinese case contains a large, bronze Buddhist temple bell and beautiful examples of Qing dynasty porcelains.
Case seven focuses on Japan, Korea, and Southeast Asia; here one can see a Japanese short sword (wakizashi), ceramics, and an ornate silver urn from Burma (Myanmar). The South Pacific is the origin of the next artworks, which include a wooden shield from Papua New Guinea, an aboriginal Australian bark painting, and painted tapa cloth from Samoa.
Spice Box, Israel, early 20th century
Between this case and the next, an exquisite Persian prayer rug is mounted to a wall. The last of the Asian collection focuses on objects from the near east. Included are a bas relief fragment from the palace of the Assyrian king Sennacherib (705-681 B.C.), a Palestinian jacket and hat, a brass menorah, and a large, ornate brass tray from Turkey.
The tenth case is devoted to the arts of the indigenous populations of North, Central, and South America. Basketry, beadwork, ivory and wood carvings, ceramics, and textiles represent many diverse cultures including Cherokee, Ojibwa, Iroquois, Lakota, Cheyenne, Pueblo, Apache, Haida, Tlingit, and Eskimo. Also displayed are objects from the archaeological cultures of Moche and Chancay, both in present day Peru.
Cheyenne Beaded Moccasins, North America, late 19th century
The last two cases focus on the decorative arts of the United States and Europe. Here one can find familiar makers such as Tiffany, Belleek, Limoges, Wedgwood, and Lalique. The many beautiful items include silver, porcelain, glass, shell, textiles, and wood. An antique coverlet, a large silver punch bowl, a mantel clock, and a William Edmondson sculpture (1939) are surrounded by many smaller, decorative items.
“Stream in Autumn Woods” by Lloyd Branson, Tennessee, United States, 1896
To the left of the entrance to the gallery hangs a large 17th century Flemmish tapestry along with a pedestal bearing the bronze sculpture Diana (The Hunt) (1923) by Harriett Frishmuth, the same artist of the large sculpture, The Vine (1923), that stands in the Museum foyer.
Demitasse Cup and Saucer, Italy, early 20th centur
The new installation is sponsored by the following: Bennett Galleries, Aletha and Clayton Brodine Museum Fund, Cherokee Distributing Company, Clayton Foundation, First Tennessee Foundation, Ashley and Mark Hahn, Mr. and Mrs. James A. Haslam II, Home Federal Bank, Sherri Lee, Bilo and Ernest Nelson, Persian Galleries, Henley and Peggy Tate Museum Fund, Trust Company, UTK Ready for the World, Raoul and Marie L. Verhagen Museum Fund, Wildcat Cove Foundation, and The Kent C. Withers Family.