Couples have traditionally been expected to live with the husband’s parents until they could afford a place of their own.In the old days the bride was usually several years older than the groom.The collection is home to a diverse array of objects, from glowering Japanese guardian figures to delicate Indian miniature paintings, and from the heavily wrought surface of a Chinese cloisonné altarpiece to the smooth celadon glaze of a Korean ewer.

Japanese works form the largest area within our Asian collections.

In addition to traditional arts of Japan, they include ceramics by great masters of the twentieth and twenty-first centuries.

Southeast Asia and the Himalayas are represented by several noteworthy objects, including large-scale sculptures from Cambodia and Thailand and early images from Kashmir and Nepal.

Like South Asian traditions, the arts of these areas are primarily religious in subject or inspiration.

We were one of the first American institutions to collect and exhibit Korean art, and as a result we house one of the country’s premier collections, with varied art forms through which Korea distinguished itself from its neighbors, including a fine selection of ceramics such as early stoneware funerary vessels, inlaid celadons, and later wares with freely painted underglaze decoration.

There are also rare examples of bronzes, furniture, and painting.

So, within a family you will see different last names.

But the children will carry the father's last name.

In the past Vietnamese marriages were arranged through matrimonial agents (mai-dongs) who brought the two families together and arranged the question of the wedding portion (bride price).

Interestingly, the woman did not bring any marriage portion, and it was the groom who paid for the wedding presents, brought to the common lot his fortune of rice fields and cattle, and often had to pay money to the wife’s family.

Monogamy is expected to be observed during marriage—at least among the wife anyway.