As you enter the gallery of the East-West Center during the Cosmic Characters: Wood Puppets of Asia exhibit, your attention is immediately split: on your left a nearly life-sized Japanese bunraku-style puppet is caught mid-dance. Her refined features betray no emotion and the spotlights reveal delicate gold stitches in her red kimono. The glass case that protects her from inquisitive fingers adds to the rarefied air that surrounds her (Fig. 1). To your right, a small “theatre” is created with draped fabric. The fabric is decorated with colorful figures and patterns, but the effect draws your eye downwards to the even more colorful Indian kathputli marionettes captured as if mid-performance. No glass surrounds them, and the puppets in their fabric home are barely a foot off the ground. This contrast in presentation suggests the range of puppetry in Asia, they are sacred and profane, high-culture and low, performed at the highest courts and by the most humble street performers. Tucked away on the wall besides the entrance, a few museum labels help orient the visitor. The first gives an overview of the exhibit’s content and the goals of Guest Curator Annie Reynolds and Gallery Curator Michael Schuster. The scope is impressive: the exhibit includes examples from more than ten distinct traditions from Sri Lanka,

中文翻译：

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宇宙人物：亚洲木偶，安妮雷诺兹和迈克尔舒斯特

当您在宇宙人物：亚洲木偶展览期间进入东西方中心的画廊时，您的注意力立即被分散：在您的左侧，一个几乎真人大小的日本文乐式木偶正在跳舞。她精致的五官不流露任何情感，聚光灯下的红色和服上有精致的金色缝线。保护她免受好奇手指伤害的玻璃盒增加了她周围稀薄的空气（图 1）。在你的右边，一个小“剧院”是用悬垂的织物制成的。面料饰有彩色图形和图案，但这种效果会将您的目光引向更加丰富多彩的印度 kathputli 木偶，仿佛在表演中期捕捉到的一样。他们周围没有玻璃，他们布艺屋里的木偶离地面只有一英尺。这种表现形式的对比表明了亚洲木偶戏的范围，它们神圣而亵渎，上流社会和下流社会，在最高法院和最卑微的街头表演者表演。一些博物馆标签藏在入口旁边的墙上，有助于引导游客。第一部分概述了展览的内容以及客座策展人安妮雷诺兹和画廊策展人迈克尔舒斯特的目标。范围令人印象深刻：展览包括来自斯里兰卡十多种不同传统的例子，第一部分概述了展览的内容以及客座策展人安妮雷诺兹和画廊策展人迈克尔舒斯特的目标。范围令人印象深刻：展览包括来自斯里兰卡十多种不同传统的例子，第一个概述了展览的内容以及客座策展人安妮雷诺兹和画廊策展人迈克尔舒斯特的目标。范围令人印象深刻：展览包括来自斯里兰卡十多种不同传统的例子，