• Back Issues

Fostering international understanding through the arts—
Blanchette and John D. Rockefeller 3rd

photography by Kazuhiko Suzuki / text by Miwako Sato

"One might say, he was the only American of prominence who showed any real and serious and continued interest in Japan. He emerged on the scene when the Japanese needed a friend abroad; and he, because he had no particular axe to grind, no economic interests, and no political ambitions, was able to fill the role with the Japanese of being what one might call something of a father figure." — Douglass Overton of the Japan Society, in The Rockefeller Conscience: An American Family in Public and Private, by Harr and Johnson, 1991 David Rockefeller's oldest brother, John D. 3rd, first set foot on Japanese soil in 1929 at the age of 23, while working as secretary to the U.S. delegation to the Institute of Pacific Relations conference. His next visit came in 1951 at age 45, this time as a cultural consultant to John Foster Dulles during the peace treaty negotiations. Fascinated by postwar Japan and all of Asia, he subsequently channeled his efforts into fostering cultural exchange between East and West, and together with his wife, Blanchette, he began collecting Asian art. Rooted in their belief that through art we can transcend political, religious, social, and cultural differences, their desire to encourage and deepen mutual understanding, and their benevolent souls, the couple was concerned that the collection representing a lifetime pursuit of sublime beauty become a source for public education and delight. Here we present a small portion of the beauty that won the compassionate hearts of John D. 3rd and Blanchette Rockefeller. Asia Society and Museum, 725 Park Avenue at 70th Street, 212-288-6400; open 11 AM to 6 PM Tuesdays through Sundays Jizo Bosatsu: photography by Lynton Gardiner, courtesy of the Asia Society

The Emperor and Empress of Japan on their 1975 visit to the United States. Kneeling Woman Nara period, eighth century. Sandy clay with traces of slip and pigment. Reportedly it is from the pagoda of Horyu-ji, Japan's earliest Buddhist temple. Height 9 inches

Japanese Art at The Asia Society text by Adriana Proser, curator In 1956 John D. Rockefeller 3rd founded The Asia Society, which through programming on public affairs and arts and culture, seeks to foster understanding between Asians and Americans. It is home to the collection of Asian art he and his wife assembled. Given to the society upon his death in 1978, the collection is widely noted for masterpieces from cultures ranging from India and Cambodia to China and Japan. JDR 3rd began to consider forming a collection of Asian art after seeing the ceramics belonging to a Japanese acquaintance, Takakichi Aso, son of Shigeru Yoshida, Japan's first postwar prime minister. In 1963 Rockefeller sought the assistance of renowned Asian art scholar Sherman Lee of the Cleveland Museum of Art. Rockefeller, his wife, Blanchette, and Lee passionately and methodically built a collection based on artistic merit. It includes some of the finest works produced in East Asia, including Japanese sculpture, ceramics, paintings, and prints dating from as early as 3,000 BC to the 19th century. Both Rockefellers were captivated by the ideal of compassion reflected in Buddhist art. This quality imbues the quiet beauty of a sculpture of Jizo Bosatsu (c. 1223-1226) by Zen-en. A Nara-period sculpture of a kneeling woman, an earlier and simpler clay work once part of a figural group at the Buddhist temple Horyu-ji possesses a similar sense of serenity. Technology and finish are two qualities that JDR 3rd particularly admired in Japanese art. Arita wares of the Edo period embody the skill with which Japanese potters produced fine porcelains with colorful overglaze enamel designs. A uniquely Japanese sensibility dwells in the innovative shape and beautiful composition of a tea-leaf jar by the 17th-century Kyoto potter Nonomura Ninsei. Japanese paintings in the society's Rockefeller collection span styles and subject matter. Buddhist art is represented in an image of the deity of wealth and happiness, Kichijoten, shown on a lotus pedestal with the jewel of wisdom on her palm. Among secular subjects are flowers and grasses on the gold leaf of a sumptuous pair of 17th-century screens attributed to the Sotatsu school. Through thoughtful selections, Mr. and Mrs. John D. Rockefeller 3rd strove to educate Americans about the splendors of Japanese culture. To celebrate the society's 50th anniversary in 2006, a special exhibition will honor the Rockefeller family and their important influence as collectors of Asian art. Top left: Jizo Bosatsu Kamakura period, 1223 - 1226. Cypress wood with cut gold leaf and traces of pigment. The Bodhisattva of the Earth Womb was worshipped as a savior bodhisattva who will guide the faithful in the age of the decay of Buddhist teachings. Height 22 3/4 inches Top right: Fudo Myo-o Late Heian to Kamakura period, late 12th century. Cypress with traces of pigment and cut gold leaf. Height 19 1/4 inches Above left: Chatsubo Edo period, mid-17th century. Stoneware tea-leaf jar painted with overglaze enamel and silver. Kyoto ware, one of the most important works by Nonomura Ninsei. Exquisite balance between brushwork and white space expresses the hovering crows. Height 12 inches, diameter 9 1/2 inches Above right: Covered Bowl Edo period, 1670 - 1690. Arita ware, Kakiemon style. Height with cover 14 5/8 inches, diameter 12 inches Born to better the world: JDR 3rd and the birth of a grand idea text by Mikio Kato, trustee and executive director, International House of Japan Throughout his life, John D. Rockefeller 3rd maintained a strong interest in Asian cultures and a firm commitment to broadening and deepening American understanding of Asian arts as expressions of Asian values. His efforts never wavered, and his accomplishments stand out in the annals of postwar cultural relations. His exposure to Asian art began in 1929 when he made an extended trip through Europe and Asia. This journey was intended to help 23-year-old John, fresh out of Princeton University, to experience a kind of self-discovery through first-hand observation of a world totally different from the one he knew. He spent four weeks in Japan. In Kyoto he served as a junior secretary of the American delegation to the Third Conference of the Institute of Pacific Relations, an initiative to identify concerns common to the Asia-Pacific nations. At this conference John met his Japanese counterpart, a junior secretary of the Japanese delegation, Shigeharu Matsumoto. Like John, Shige hailed from a distinguished and wealthy family. Their encounter in Kyoto quickly developed into a close friendship. John's 1929 visit kindled his devotion to the culture and people of Japan. Summarizing his impressions of the time, he wrote in his diary: "Four things stand out in my mind above all in regard to Japan. First is the loveliness of the kimonos of the women. Second is the beauty of the Japanese gardens. Third is the cleanliness of the people and the towns. And fourth are the courtesy and kindness of the people themselves." John returned in 1951 with the mission negotiating provisions for the peace treaty. His status was consultant in charge of "the cultural, educational, and informational aspects." His reunion with Shige and others he had met in 1929 led to creation of Tokyo's International House, a unique institution aimed at promoting cultural exchange and providing a "home-away-from-home" for scholars and artists from abroad. The success story of the I-House of Japan led to a similar institution in New Delhi. This, too, was realized through inspiration, encouragement, and support from John. I joined the I-House in 1959, four years after completion of its handsome building (pictured above), designed by three Japanese architects. On frequent visits to Japan, John worked with Shige to make the I-House attractive to world-class scholars and artists. I was assigned to assist John, allowing me to observe closely two great men on a common mission to improve society. Throughout my association with John, I never heard him express self-congratulation or arrogance. He was a man of modesty with a warm heart. In his gentle and even shy manner, he maintained both a deep concern about social and international problems—global population growth and quality of working life were two—and an equally deep concern for individuals. I can still hear words he always whispered to me at the end of social functions at which he was either host or guest-of-honor: Glancing at the service people, he would ask, "Are they taken care of?" It took me awhile to understand that he meant waiters, waitresses, and others working behind the scenes. John always showed similar consideration to his chauffeur and other workers and was respected and loved by them all. Articles from the 2004 AUTUMN issue: Art for Eternity—The Rockefeller Family: Blanchette & John D. Rockefeller 3rd - JDR IV speaks across cultures Quintessential Kyoto: Zazen - The Shinto Shrine - Tea Ceremony Byobu (folding screens): Tatsuya Ishiodori - Motoko Maio Articles from the 2004 AUTUMN issue: Art for Eternity—The Rockefeller Family: Blanchette & John D. Rockefeller 3rd - JDR IV speaks across cultures Quintessential Kyoto: Zazen - The Shinto Shrine - Tea Ceremony Byobu (folding screens): Tatsuya Ishiodori - Motoko Maio Kateigaho International Edition Issues: 2005 SUMMER - 2005 SPRING - 2005 WINTER 2004 AUTUMN - 2004 SUMMER - 2004 SPRING - 2004 WINTER 2003 AUTUMN - INAUGURAL ISSUE