Orientations is a bimonthly print magazine published in Hong Kong and distributed worldwide since 1969. It is an authoritative source of information on the many and varied aspects of the arts of East and Southeast Asia, the Himalayas, the Indian subcontinent and the Middle East, from the latest scholarly research to market analysis and current news.

This issue commemorates the 120th anniversary of the Museum für Asiatische Kunst's East Asian Art Collection in Berlin with a series of case studies that examine how objects were made, moved, collected, and reimagined across time and space. The volume opens with an exploration of the enduring motif of the 'old fisherman' in Chinese painting, revealing how seemingly serene landscapes served as metaphors for political withdrawal during dynastic turmoil. The museum's foundational 1907 acquisition of Japanese paintings from the dealer Hayashi Tadamasa is critically reassessed, exposing the early curatorial challenges and prevalence of forgeries that shaped the collection's initial profile. The complex 'afterlife' of a 14th century Goryeo Buddhist scroll is traced through its reclassification from Chinese to Korean, its material conservation, and its fragmented provenance. A conservator's perspective on a late Qing dynasty woman's jacket highlights its intricate embroidery and the meticulous restoration required to prepare it for public display. A new model for transnational provenance research is proposed through the study of a Yongzheng period porcelain bowl.
 This fall, the 'Ten Kings of Hell: The Afterlife in Medieval Korea' exhibition at the Cleveland Museum of Art will mark a historic moment: the reunification of a dispersed Goryeo dynasty set of hanging scrolls of the Ten Kings of Hell.
 The 18th century robe à la chinoise is examined as a genuine hybrid object, revealing how hand-painted Chinese silks embody a collaborative artistic process that unsettles simple binaries of East and West. The philosophical motif of the 'stringless qin' in Yuan dynasty literati painting is investigated to show that the deliberate absence of sound and strings served as a powerful device for evoking interiority, moral cultivation, and political withdrawal. 
A conversation with contemporary artist Imran Qureshi focuses on his monumental new mural for the Pergamonmuseum—his first permanent commission outside Pakistan.