藝術/文化/史
ArtsInfo
05/17/2013
1. 感謝畢斐、Kevin McLoughlin、盧慧紋、許文美、王靜靈、Uta Rahman-Steinert 所提供
的資訊。部分訊息轉貼自 Nixi Cura 維護之 Arts of China Consortium 網站。
2. 目前原則上固定於每周五寄發，包括展覽、演講、會議議程與徵文、網路資源、徵人啟事
等訊息，歡迎大家多多貢獻資訊。
3. 若有與中台藝術史或文化史相關的研究、演講、展覽、或會議之訊息，不論來自何地，都
歡迎提供，我會將之轉給大家。雖然未必能與會，分散於天涯海角的我們卻可對各地情況
有所瞭解。
4. 最新訊息以紅色標示，內容包括中(Big5)、英、日文(IME)碼。
5. 本期更新：展覽、演講、研討會。
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到，也請告知，以方便作業。
展覽：
■ 台灣
1. 國立故宮博物院
2. 十三行博物館
■ 亞洲
1. 香港藝術館
2. 香港中文大學文物館
3. 澳門藝術博物館
4. 澳門博物館
5. 中國故宮博物院
6. 中國國家博物館
7. 廣東省博物館
8. 京都國立博物館
9. 大和文華館
10. 九州國立博物館
11. 大阪市立美術館
12. 韓國國立博物館
■ 歐美
1. Freer Gallery of Art
2. Asian Art Museum of San Francisco
3. Cantor arts center at Stanford university
4. Musée Guimet
5. Musée Cernuschi
6. Princessehof Museum of Ceramics in Leuwarden (Netherlands)
7. Asian Art Museum, National Museums in Berlin
台灣
1. 故宮博物院展覽：
1）通嚏輕揚—鼻煙壺文化特展
展期：2012/07/25 ~ 2013/06/20
陳列室：303
http://www.npm.gov.tw/exh101/snuff_bottles/
2）金成旭映—清雍正琺瑯彩瓷特展
展期：2012/12/01 ~ 2013/09/30
陳列室：203
http://www.npm.gov.tw/exh101/yongzheng/
3）萬民同樂—元王振鵬龍池競渡圖
展期：2013/04/01~2013/06/25
陳列室：208
http://theme.npm.edu.tw/exh102/dragonlake/
4）盆中清翫
展期：2013/04/01~2013/06/25
陳列室：212
http://theme.npm.edu.tw/exh102/planter/
5）順風相送：院藏清代海洋史料特展
展期：2013/05/03 始
陳列室：展覽區一 104
http://theme.npm.edu.tw/exh102/tailwind/
6）溯源與拓展－嶺南畫派特展
展期：2013/06/01~2013/08/25
陳列室：展覽區一 105、107
廣東地處五嶺之南，習稱嶺南。晚清時期，由於廣州開放為對外通商口岸，外在環
境的變遷，啟動了嶺南地區藝術革命的契機。伴隨多位才華洋溢的畫家嶄露頭角，嶺南
諸家的畫名迅速與上海、京津地區的畫家三足鼎立，躍身為代表中國南方藝壇的核心團
體。
近代嶺南繪畫的革新，可推居巢（1811-1865）、居廉（1828-1904）昆仲為先驅。二
居係廣東番禺隔山鄉人，畫風賡續自清初惲南田（1633-1690）的沒骨花卉，於取材、表
現諸端，迭有建樹，其擅長之「撞水」
、
「撞粉」畫法，能充分掌握物象五光十色的變化。
傳承者以高劍父（1879-1951）
、高奇峰（1889-1933）
、陳樹人（1884-1948）聲名最著，致
有「嶺南三傑」的美譽。彼等均曾負笈東瀛，採擷東洋畫中講求寫生、著色鮮潤的一脈，
於民初楬櫫「折衷中外、融會古今」的革新口號，與側重臨摹的傳統派互成抗衡之勢。
嶺南派新國畫對於當代藝壇的影響，亦未侷限於廣州，舉凡香港、澳門、台灣等地，均
有眾多後繼者，迄於今日而不衰。
本次「溯源與拓展─嶺南畫派特展」
，除陳列嶺南派創始者「二高一陳」的代表作，
復遴選嶺南派前身「隔山二居」，以及嶺南派二代傳人，趙少昂（1905-1998）、黎雄才
（1910-2001）
、關山月（1912-2000）
、楊善深（1913-2004）等四家作品，援以演繹嶺南畫
派的源流與生生不息的發展。展覽共分「人物」
、
「花鳥魚蟲」
、
「畜獸猛禽」
、
「山水」四
個單元，作品集結自廣州藝術博物院、中央研究院嶺南美術館、挹翠山堂與本院典藏，
共計九十件。觀眾賞覽之際，應能概括嶺南派繪畫表現的多元面向。
（附展品清單）
2. 十三行博物館
金玉良緣：湖北省博物館藏明梁莊王墓考古文物展
展期： 2013/05/18 ~ 2013/08/04
地點： 第二特展室及第三特展室
梁莊王為鄭和下西洋時代的親王，封藩於湖北，其墓出土金器、玉器、瓷器等各類文
物 1400 件（組），約 5300 件，所出土文物的豐富與精美程度僅次於明定陵，為湖北省重
大考古發現。而這次展出的 101 件（組）文物每件都做工精細、保存良好，至今仍璀璨生
輝，令人驚嘆不已。透過本次特展，可欣賞到精緻的文物，認識湖北考古文化，增進藝文
生活視野，同時更豐富美學生活內涵。
亞洲
1.
香港藝術館
1）20 / 20 ─ 虛白齋藏中國書畫館二十周年特展
展期：2012 年 9 月 26 日-2013 年 9 月 30
陳列室：虛白齋藏中國書畫館 (二樓)
2）館藏一百 ─ 香港藝術館藏中國繪畫特展
展期：2013.03.22 – 2013.10.30
陳列室：中國書畫展覽廳 (四樓)
2.
香港中文大學文物館
金曜風華：夢蝶軒藏中國古代金飾
展期：2013 年 5 月 5 日至 10 月 27 日
地點：香港中文大學文物館展廳 II
展覽以香港夢蝶軒所藏近三百項從公元前 1500 年至公元 1700 年間歐亞及中國金飾
為核心，是香港眾博物館中第一次大規模、有系統的中國金器展覽。
這次展覽不僅展示一個重要的私人珍藏，更是首個綜合藝術史、文化交流史和工藝
技術的中國金飾研究。作為公元前一千多年前經外族引入中國的金屬物料，黃金不僅帶
來新穎的視覺享受，更為中國帶來嶄新的藝術、文化和技術的衝擊。展覽圖錄結合中國、
歐亞和俄羅斯的考古發現，探討過去三千多年來，黃金在中國社會的角色與發展。
3.
澳門藝術博物館
春風妙筆－－楊善深百年誕辰藝術展
展期：28/3/2013 - 9 /6/2013
陳列室：四樓中國書畫館
http://www.mam.gov.mo/show.asp?prg_id=2013032801&language=1
4.
澳門博物館
象映乾坤——中國風
展期：2013/5/24 - 2013/8/18
陳列室： 澳門博物館三樓
17 世初至 18 世紀末在歐洲、特別是在法國，掀起崇尚中國的藝術風格和生活習俗
的“中國風”熱潮及其影響。80 件/組代表性展品包括油畫，版畫，瓷器，掛毯等不同
媒介，來自巴黎裝飾藝術博物館、羅浮宮博物館、塞夫勒國立陶瓷博物館、貝桑松考古
美術館及永利渡假村（澳門）股份有限公司等機構。
自明中葉始，歐洲傳教士前往中國，同時將中國的哲學、宗教、科學、技術和藝術
等知識帶回歐洲，致使 17 世紀初至 18 世紀末的清朝康乾盛世時期，歐洲掀起一股“中
國風”（Chinoiserie）熱潮，頌賞及追捧中國物品，熱衷中國的藝術風格和生活習俗，這
種時尚滲透了歐洲人生活的各個層面。
由文化局及澳門博物館主辦的是次展覽，主要介紹 “中國風”在法國的形成及其影
響，表現歐洲人對中國文化的認識和追捧。展品來自：巴黎裝飾藝術博物館、羅浮宮博
物館、塞夫勒國立陶瓷博物館、貝桑松考古美術館，以及永利渡假村（澳門）股份有限
公司，內容有油畫，版畫，瓷器，掛毯等約 80 件藝術珍品。
5.
中國故宮博物院
1）潔白恬靜—故宮博物院藏定窯瓷器精品展
展期：2012 年 9 月 19 日--2013 年 7 月 31 日
陳列室：延禧宮古陶瓷研究展廳
http://big5.dpm.org.cn:82/gate/big5/www.dpm.org.cn/shtml/502/@/0/104482.html
2）色彩絢麗—故宮博物院鈞窯瓷器展
展期：2013 年 09 月 20 日-2014 年 07 月 31 日
陳列室：延禧宮古陶瓷研究中心展廳
3）指頭繪畫天地寬—高其佩指頭畫展
展期：2013 年 12 月 20 日-2014 年 02 月 20 日
陳列室：延禧宮古書畫研究中心展廳
6.
中國國家博物館
名家珍品集萃——孫照子女捐贈中國古代繪畫珍品展
展期：2012 年 12 月 26 日至 2013 年 6 月 26 日
陳列室：南區三層 14 號展廳
http://www.chnmuseum.cn/tabid/236/Default.aspx?ExhibitionLanguageID=297&ShowType=
Description
孫照先生（1899－1966）生前係北京市第六中學語文教師。1982 年，孫照先生子女孫念
臺先生、孫念增先生以及孫念坤女士三人，將其家藏的中國古代繪畫、書法等珍貴文物，
先後兩次捐贈給中國國家博物館的前身中國歷史博物館。為表達對捐贈者的敬意，中國
國家博物館從此批文物中甄選出部分繪畫佳作，在國博成立百年之際，舉辦了這次展覽。
展覽囊括了元、明、清三代在中國繪畫史上具有重要地位的畫家的珍貴畫作。其中，元
朝黃公望《溪山雨意圖》卷為黃公望七十歲左右之作，早于《富春山居圖》卷十多年，
是目前所見黃公望最早的作品。元倪瓚《水竹居圖》軸為目前所見倪瓚年款的最早作品，
也是國內僅見倪瓚設色之畫品。明沈周《桃花書屋圖》軸第一次與公眾見面，是研究沈
周的重要文物資料。明文徵明《真賞齋圖》卷為文氏晚年細筆的代表之作。此外，明代
趙左、董其昌、項聖謨，清代“四王”、惲壽平、郎世寧、查士標等名家的畫品亦為首
次公開展覽，具有很高的藝術和資料價值。
7.
廣東省博物館
金枝玉葉——明代江西藩王墓出土玉器精品展
展期：2013-4-23 至 2013-6-23
陳列室：三樓展廳二
中華玉文化延綿八千年，先後經歷幾個承前啟後、不可替代的重要發展階段。1368
年，朱元璋建立明王朝，恢復唐制，在冠服上用玉來體現等級貴賤，規定玉是統治階級
的專用之物，因而明代也成為我國琢玉史上一個非常繁榮的時期。明代在江西分封了甯
王、益王、淮王三蕃，經考古發掘的明藩王墓數十座，成為全國明代玉器出土最為集中
的地區。《玉葉金枝——明代江西藩王墓出土玉器精品展》展品來自明代江西寧、益兩
大封藩藩王及家族成員墓出土的玉器或金玉寶石鑲嵌的配件。展品九十二件（套），其
中國家一級文物 10 件、二級文物 27 件、三級文物 39 件。展覽分為圭見禮儀、玉帶尊貴、
玉佩玎璫、珠玉琳琅、玉具風情、金玉良緣六個部分。展覽兼具觀賞性和研究性。一方
面，玉器品類多種，質地瑩潤，雕琢細緻，紋樣精美，反映了明代諸藩王富貴堂皇、窮
奢極侈的生活場景；再者，展品的物主和時代明確，為研究明王朝中央和地方制玉的相
互關係提供了新的視角，對傳世玉器研究也具有較好的參照作用。
8.
京都國立博物館
魅惑の清朝陶磁
展期：平成 25 年 10 月 12 日（土）～12 月 15 日（日）
陳列室：京都国立博物館 特別展示館
古来、
「やきもの」の王者として名高い中国陶磁の中でも、その精巧さ、緻密さに
おいて他を圧倒しているのが清時代の陶磁器です。ヨーロッパの王侯貴族に愛された
ことはよく知られていますが、開国後だけでなく、鎖国下の日本へももたらされ、各
地のやきもの生産に大きな影響を与えました。数々の名品を通してその精髄に触れる
と共に、日本人がいかに清朝の陶磁器を賞玩してきたのか、最新の調査成果によっ
て、その足跡を辿ります。
9.
大和文華館
1）中国陶磁の広がり - 愛好・写し・展開 展期：2013 年 5/17（金）～6/30（日）
中国陶磁は技術の高さや魅力溢れる造形により、世界の陶磁器に大きな影響を与え
てきました。人々は中国陶磁にあこがれ、愛好し、写しを作り、また独自の美意識に
合わせて新しい造形を生み出しました。日本やヨーロッパの作品とともに中国陶磁の
展開を見ていきます。
2）海を越える美術 - 日本をとりまくアジアとヨーロッパ 展期：2013 年 7/5（金）～8/18（日）
異文化に好奇の視線を向け、積極的に取り入れることで、美術品は新たな美を獲得
していきます。１７～１９世紀を中心に、日本にやってきた中国人画家およびそれに
影響を受けた日本人画家の絵画や、東洋人に愛された西洋の硝子工芸など、海を越え
た交流の生み出した美術作品を展示します。
3）水墨画名品展
展期：2013 年 8/23（金）～10/6（日）
中世の水墨画を代表する可翁筆「竹雀図」、大胆な構図が魅力的な雪村筆「呂洞賓
図」をはじめ、当館には水墨画の優品が数多く所蔵されます。濃淡や階調、描線を駆
使して生み出される表現には、無限の広がりが見られます。時代を超えて人々に愛さ
れ続ける、水墨画の幽玄な世界をお楽しみ下さい。
4）竹の美
展期：2014 年 2/21（金）～3/30（日）
黒川古文化研究所、泉屋博古館との三館連携「松・竹・梅」展の一環として、竹を
表した美術品を展示します。空に向かってまっすぐに伸び、冬の寒さの中でも青さを
保ち、風雪の中でもしなやかに折れることのない竹、君子に愛されたその美しさをご
堪能ください。
10.
九州國立博物館
中国 王朝の至宝
展期：平成 25 年 7 月 9 日（火）～9 月 16 日（月・祝）
陳列室：特別展示室
中国は、黄河や長江などの大河、起伏に富んだ大地に抱かれ、古来各地に特色ある文
化圏を形成してきました。日中国交正常化 40 周年を記念する本展は、初期王朝とさ
れる夏にはじまり、宋にいたるまでのおよそ 3000 年の時間を縦糸に、それぞれの時代
に栄えた２つの王都や地域を横糸に、これらが織りなすダイナミックで多彩な世界を
ご紹介する大型企画。東京、神戸、名古屋と巡回する「中国 王朝の至宝」がついに
九州に上陸します。美術大全集などでもお馴染みの名品が揃います。
11.
大阪市立美術館
北魏石造仏教彫刻の展開
展期：9 月 7 日（土）～10 月 20 日（日）
http://www.osaka-art-museum.jp/sp_evt/northernwei/
インドで生まれた仏教は、中国へ後漢時代（紀元後 1 世紀頃）に伝えられ、南北朝
時代（5-6 世紀）になると国家事業としての寺院の建立と巨大な石窟の造営が行われ
ました。 そして、仏教が広く中国全土に浸透する中で、地域ごとに特色のある仏像
が生み出されるようになります。 こうした長い中国仏教史において、最も優れた石
造仏教彫刻が生み出されたのが、南北朝時代の北魏（ほくぎ/386-534）王朝でした。
本展では国内に収蔵される主要な優品と、山口コレクションをはじめとする館蔵･寄
託作品を加えた約 60 件により、北魏石造仏教彫刻の全体像について「仏像の地域性」
をキーワードに浮き彫りにしたいと考えています。
日本において、中国の仏教彫刻はまだまだ人々の目に触れられていないのが現状と
いえます。
しかしその一点一点を観察すると、今日では不可能なほど精巧な彫刻技術を示す作
品や、素朴な温かみを感じさせる作品、さらには日本の仏像と密接な関係をもつ作品
など、見飽きることがありません。
12.
韓國國立博物館
1) Goryeo and Liao
Location: Metal Crafts Gallery in the Permanent Exhibition Hall, 3F
Date: 10-08-2013 ~ 12-08-2013
http://www.museum.go.kr/program/show/showDetailEng.jsp?menuID=002002002&searc
hSelect=A.SHOWKOR&showCategory1Con=SC1&showCategory2Con=SC1_1&pageSi
ze=10&langCodeCon=LC2&showID=7131&currentPage=1
This exhibition will feature metalworks from the Liao dynasty in the collection of National
Museum of Korea. Comparing shapes, designs, and techniques of Liao metalworks to those
of Goryeo, the exhibition will especially explore cultural exchanges between Korea and China
2) The Taoism in Korea: Deities and Immortals
Location: Special Exhibition Gallery
Date: 12-10-2013 ~ 03-02-2014
http://www.museum.go.kr/program/show/showDetailEng.jsp?menuID=002002002&search
Select=A.SHOWKOR&showCategory1Con=SC1&showCategory2Con=SC1_1&pageSize=1
0&langCodeCon=LC2&showID=7151&currentPage=1
The Taoism in Korea: Deities and Immortals will be the first major exhibition ever held on
the theme of Taoism and its influence on Korean life and culture. The exhibition is going to
display the comprehensive collection of Taoist cultural artifacts including paintings, books,
documents, crafts, and archaeological achievements from the ancient times to the Joseon
Dynasty. It is expected that the exhibition will be an opportunity for the visitors to deepen
their understanding on Taoism which has been a significant element of Korean traditional
culture along with the Confucianism and Buddhism.
歐美
1. Freer Gallery of Art
1）Promise of Paradise: Early Chinese Buddhist Sculpture
Opens December 1, 2012
The Freer’s impressive collection of stone and gilt bronze Buddhist sculptures highlights two
flourishing ages, the sixth century and the High Tang (6th–8th century). The exhibition’s dramatic
focus is the monumental Cosmological Buddha: a life-size stone sculpture covered in intricate
representations of the realms of existence, ranging from hell to the abodes of the devas, or
Buddhist gods.
2）One Man’s Search for Ancient China: The Paul Singer Collection
January 18–July 7, 2013
The two-bedroom New Jersey apartment of psychiatrist-turned-collector and scholar Paul Singer
(1904–1997) was once packed with more than 5,000 objects he assembled over the course of
seventy years. Singer’s bequest to the Arthur M. Sackler Gallery created one of the largest and
most significant Chinese archaeological collections in the United States. This exhibition of Singer’s
gift not only looks at the collector’s legendary life, but also examines how landmark archaeological
discoveries have shed new light on his acquisitions and on life in ancient China. Highlights include
an early bronze plaque with exquisite turquoise inlay; jade and stone objects that closely resemble
those found in the tomb of the royal consort Fu Hao dating to the 13th century BCE;
2,000-year-old human hairpieces; and a group of rare and amusing figurines and miniature vessels.
2. Asian Art Museum of San Francisco
1）China's Terracotta Warriors Return to San Francisco
February 22–May 26, 2013
http://www.asianart.org/exhibitions_index/terracotta-warriors
The Asian Art Museum celebrates its 10th anniversary in its Civic Center location by presenting a
major exhibition examining the life and legacy of China's First Emperor, a complex leader whose
sheer ambition continues to fascinate.
Featuring 120 rare objects—including 10 terracotta figures—from one of the greatest archaeological
discoveries of our time, China’s Terracotta Warriors: The First Emperor’s Legacy takes visitors on a
journey from the birth and rise of the Qin Empire to the life and rule of the First Emperor, his
quest for immortality, and his death, burial, and complex legacy.
The exhibition also features bronze ritual and jade artifacts, gold and silver ornaments, and palatial
architectural components—some on view for the first time in the U.S.—illustrating the emergence
of the Qin State. The objects are drawn from more than 13 institutions in China, including the
Museum of Terracotta Warriors and Horses, the Shaanxi Provincial Archaeological Institute, and the
Shaanxi History Museum.
The Asian Art Museum was among the first museums outside China to feature some of the
terracotta figures in a major exhibition held in 1994. Nearly forty years after its discovery, Chinese
archaeologists are still making discoveries around the burial mound of one of the most remarkable
figures in the history of China, the First Emperor. The exhibition focuses on this extraordinarily
influential man.
2）Pan-Asian Ceramics: Export, Import, and Influence
December 2012 – June 2013
International trade has occurred since ancient times. The exchange of ceramics, an important trade
good, influenced design styles and production techniques across vast geographic regions. Ceramics
served utilitarian purposes, were used as burial objects, decorative items, status symbols, and given as
tributary gifts. China, the country that had the largest impact on the worldwide ceramics industry,
began to export wares in large numbers during the Tang dynasty (618–906). By the eleventh and
twelfth centuries, beautifully crafted, high-fired Chinese ceramics provided examples and inspiration
to Vietnam, Thailand, Korea, Japan, and Persia.
Although China dominated the ceramics export market, Japan, Thailand, and Vietnam also
exported wares in various centuries. Each ceramic center learned the preferences and tastes of
consumers in other regions and produced ceramics specifically for these foreign markets. Artisans
crafted ceramics in certain shapes and sizes with designs and colors that their customers in locations
such as Southeast Asia, Turkey, or Europe preferred.
The ceramics trade can be divided into two broad periods. The first began in approximately the
ninth century and ended in the sixteenth century. During this period, Chinese, Southeast Asian, and
Arab merchants dominated the ceramics trade. In the second period, from the sixteenth to the
eighteenth centuries, Japanese and European merchants joined the trade.
The Chinese perfected the large-scale production of porcelain more than one thousand years ago.
Shortly after its introduction, porcelain was sought after for its beauty, durability, and pure-white
color. Adding to its allure, the technique of decorating ceramics with blue pigment made from
cobalt, which originated in Persia, was incorporated by Chinese artisans during the first half of the
fourteenth century. Chinese blue-and-white porcelain soon became one of the most universally
admired and widely imitated of all ceramics.
Korea developed porcelain in the late 1300s. The Japanese followed, and by the 1640s, began to
successfully compete with Chinese porcelain exports. Other regions such as Persia lacked the
necessary raw materials to fabricate true porcelain, so instead, made a soft-paste version known as
fritware. Vietnam also crafted blue-and-white painted pieces from stoneware. Europe eventually
uncovered the secret to making porcelain in the early 1700s.
This exhibition features a fine selection of ninth- to eighteenth-century ceramics from the Asian
Art Museum, San Francisco. Persian fritware, Vietnamese stoneware excavated from a shipwreck off
the country’s central coast, blue-and-white export porcelain, as well as Korean and Thai celadon, are
some of the many objects on display.
3. Cantor arts center at Stanford university
Border Crossings: From Imperial to Popular Life
Through August 4, 2013
Madeleine H. Russell Gallery
How are the boundaries between social classes and identities challenged and transcended? This
exhibition explores that question by considering art production in China and Japan during the last
three hundred years. After recent research and reevaluation, two sets of 18th century Chinese
paintings from the collection have been rescued from obscurity and are now on view here for the
first time. These works demonstrate how artisans outside palace walls reproduced the subjects
and styles of imperial paintings in order to satisfy the demands of a rising social class. In addition,
the exhibition features Japanese woodblock prints of civil life, urban scenes and coveted fashions
of the “floating world”—images that existed despite the ruling shogunate’s regimentation.
Forty-three works on display.
4. Musée Guimet
Bronzes archaïques chinois
Du 13 mars au 10 juin 2013
Cette exposition présentera pour la première fois au public en France une collection unique de 150
bronzes de la Chine d’avant notre ère. Ces objets, d’une grande diversité de formes et de motifs,
objets rituels ou utilitaires, témoignent magnifiquement de la civilisation chinoise naissante.
5. Musée Cernuschi
L'ÉCOLE DE SHANGHAI (1840-1920)
Peintures et calligraphies du musée de Shanghai
8 mars - 30 juin 2013
http://www.cernuschi.paris.fr/en/exhibitions/school-shanghai
Pursuing the exploration of Chinese painting begun with the exhibitions Six Centuries of
Chinese Painting in 2009 and Chinese Artists in Paris in 2011, the Musée Cernuschi, with the aid
of remarkable loans from the Shanghai Museum, is throwing fresh light on a key period in the
history of Chinese Art, during which Shanghai painters and calligraphers laid the foundations for
a new modernity.
In the 19th century the Qing Dynasty was shaken by the Taiping Rebellion and military threats
from the Western powers. Beginning in the 1840s the Jiangnan region of southern central China
was the scene of armed conflicts which ravaged the cities of Nanjing (Nankin), Yangzhou and
Hangzhou. The community of artists who had contributed to the remarkable prestige of these
cities during the 18th century was dispersed, with many of the painters and calligraphers fleeing
the conflicts and converging on the Shanghai region, where a new culture influenced by contacts
with the West took shape. These upheavals gave rise not only to radical cultural change, but also
to a thoroughgoing regeneration of the visual arts, characterised by a new freedom of line and
the abrupt arrival of colour.
The exhibition opens with the heritage of Jiangnan, showing how from one genre to another
the painters assimilated the styles created in the region. It then looks in detail at the most
significant personalities: those who, like Ren Xiong or Ren Bonian, triggered a break with the
usual representation of the human figure by the introduction of realistic and cartoon-style images;
and others who, like Xu Gu, abandoned the terrain of stylistic formulas inherited from the early
Qing and turned towards fundamental simplification.
The transposition of calligraphic models into the field of painting gave new status to the
expressive power of line. Initiated by Zhao Zhiqian, this style found its culmination in the work
of Wu Changshuo, and its evolution is probably most manifest in the "paintings of flowers and
birds" genre: here the stem of a plant or the tail of a fish can take on a liveliness and energy
whose effect is enhanced by vivid colours sometimes borrowed from the Western palette.
6. Princessehof Museum of Ceramics in Leuwarden (Netherlands)
Mysterious Ming
24 March to 27 October 2013
http://www.princessehof.nl/nieuws/mysterious-ming?language=en
Why does someone pay millions of dollars for a vase? What is it that makes Ming porcelain so
special? From 24 March 2013 visitors to the Princessehof can embark on a voyage of discovery
through the most famous dynasty in Chinese history. The museum will exhibit highlights from its
collection in an Oriental ambiance. From an emperor’s tableware to VOC shipwrecks – the
mysteries of the Ming are unravelled in Leeuwarden (the Netherlands).
The vase that sold for 21,6 million…
A new auction record was set in 2011 when Sotheby’s auctioned a Ming vase for 21,6 million
dollars. And who among us hasn’t hoped that the Chinese vase we found while rummaging at a
jumble sale might be a Ming vase. And whenever we see bunglers such as Mr Bean or Laurel &
Hardy on screen, a Ming vase is sure to take a tumble. Ming is synonymous for extremely
expensive antiques. But why is Ming so expensive anyway? What is it? And why are we so familiar
with the Ming dynasty, while the Qing is largely forgotten? Our exhibition Mysterious Ming
answers these and many more questions.
Mysterious Ming
An audio tour guides visitors on their voyage of discovery through China in the period 1368 to
1644. The story is told in its entirety: from the rise of the Ming in the 14th century to the death of
the last emperor three centuries later. Visitors can imagine themselves in the Forbidden City and
admire the same dish that Chinese Emperor Zhengde dined from 500 years ago. One of the
highlights of the exhibition is the porcelain cargo salvaged from two VOC shipwrecks, remarkable
testaments to the Dutch trade in Chinese porcelain in the early 17th century. The salvage
operations are recreated with underwater photographs taken during their recovery. Current
representations and clichés about anything and everything Ming as portrayed in TV commercials
and films are also included in the exhibition.
The Princessehof ’s Ming collection
The Princessehof ’s wide-ranging collection of Oriental objects is internationally renowned,
including as it does priceless Imperial porcelain to the world’s most important collection of trade
porcelain. Ming porcelain is characterised by its technical and aesthetic perfection and is still
regarded as the pinnacle of refined porcelain in China and the West. The exhibition Mysterious
Ming includes 250 rare vases, dishes and jugs. The collection came about primarily because of
Nanne Ottema’s (1874–1955) passion for collecting. A lawyer in Leeuwarden, Ottema also founded
the Princessehof, Museum of Ceramics in Leeuwarden (the Netherlands).
7. Asian Art Museum, National Museums in Berlin
Rebirth of Canons: The Art of Copy in Chinese Painting and Calligraphy
17.03.2013-15.09.2013
A "Canon" is an art work that is generally considered to be the most influential. A characteristic
phenomenon in the historical development of Chinese painting and calligraphy is that Chinese
artists constantly learn through imitation of classic works. This does not mean however that artists
lacked original ideas or creativity, what they have been doing is taking the canons from old masters
as examples, and through copying them, are able to emulate historical styles and then use that as a
basis for their own creative contributions. One can also identify rivalry between the old masters
and artists who followed them; the old masters set up the canons and later other artists
appropriated their schemas and techniques, first to imitate them, then to transcend them as they
became masters themselves. In this way the canon is repeatedly reborn and evolves in Chinese art.
This exhibition focuses on the specifics of this practice in Chinese painting and calligraphy
through selected masterpieces from the collection of the Asian Art Museum to demonstrate this
intriguing learning process.
Display-list:
1
2
3
4
5
Fang Shishu
Landscape in Ancient Style (12 Pages)
方士庶
仿古山水冊（十二開）
Chen Jiru
Landscape in Style of Juran
陳繼儒
倣巨然山水扇面
Wang Shimin
Landscape in Style of Juran
王時敏
倣巨然山水圖扇面
Wang Jian
Landscape in Style of Juran
王鑑
倣巨然筆意扇面
Dong Qichang
Landscape in Style of Mi Fu
董其昌
6
Lan Ying
藍瑛
7
Dong Qichang
董其昌
倣米芾山水圖扇面
Landschaft im Stil des Mi Fu
倣米芾山水圖扇面
After Mi Youren’s “Glamourous Landscape of Xiao and Xiang
Rivers”
倣小米瀟湘奇境圖卷
8
Wang Yuanqi
王原祁
9
Fang Shishu
方士庶
10
Wang Shimin
王時敏
11
Wang Jian
王鑑
12
Wang Jian
王鑑
13
Dai Xi
戴熙
14
Zhou Shichen
周世臣
15
Yun Shouping
惲壽平
16
Wang Shimin
王時敏
Landscape in Style of Mi Youren
倣小米山水扇面
Mountains and Cliffy Shore
山水圖軸
Landscape in Style of Huang Gongwang
倣大癡山水圖軸
“Autumn Mountains” in Style of Huang Gongwang
倣子久秋山圖扇面
“Autumn Mountains” in Style of Huang Gongwang
擬子久秋山圖軸
After Wang Shimin’s “Autumn Mountains”
師王時敏秋山圖扇面
Landscape in Style of Huang Gongwang
倣黃公望山水圖扇面
Landscape
山水圖扇面
Landscape in Style of Zhao Mengfu
倣趙孟頫山水扇面
17
Cao Xi
Figure Painting in Style of Zhao Mengfu
曹羲
18
摹趙孟頫人物扇面
Liu Du
Mountain Valley with a Monastery in Autumn
劉度
19
山水軸
Zhang Hong
張宏
After Wang Meng’s “Secluded Dwelling in the Qingbian
Mountains”
倣王蒙青卞隱居圖扇面
20
Shangrui
Landscape in Style of Wang Meng
上 睿
21
倣王蒙山水圖扇面
Zhang Yan
Landscape in Style of Wang Meng
張彥
22
23
24
倣王蒙山水圖扇面
Wu Zi
Couplet written in Seal Script
吳咨
篆書對聯
Huang Yue
Calligraphy in Style of Wang Xizhi
黃鉞
臨王羲之書扇面
Aixinjuelou Yongxing
Calligraphy in Style of Wang Xizhi
愛新覺羅˙永惺
臨王羲之書扇面
演講：
1.
中國美術學院藝術人文學院“中國文獻與圖像”系列講座
2013 年 5 月 31 日至 6 月 1 日
杭州中國美術學院南山校區學術報告廳
1) 5 月 31 日下午
首都圖書館文化服務中心主任馬文大研究館員
“明代版畫藝術”
2) 5 月 31 日晚上
清華大學圖書館科學技術史暨古文獻研究所劉薔副研究員
“乾嘉時期的版本學成就——以《天祿琳琅書目》為中心”
3) 6 月 1 日上午
中國科學院國家科學圖書館古籍部主任羅琳教授
“民國時期日本對華文化侵略”。
2.
中国王朝の至宝講座
1）中国王朝
栄華を極めたのは誰だ
日時：平成25年7月13日（土）13:30〜14:30
会場：九州国立博物館1階ミュージアムホール
講師：谷豊信（九州国立博物館学芸部長）
2）中国王朝の至宝を10倍楽しく見る方法
日時：平成25年7月20日（土）13:30〜14:30
会場：九州国立博物館1階ミュージアムホール
講師：市元塁（九州国立博物館主任研究員）
3.
皇帝たちの中国-ファースト・エンペラーからラスト・エンペラーまで日時：平成25年8月3日（土）13:30〜15:00
会場： 九州国立博物館1階ミュージアムホール
講師： 稲畑耕一郎氏（早稲田大学教授）
要事前申込（聴講無料）
研討會：
1.「萬象更新：現代性、視覺文化與二十世紀中國」國際學術研討會
佛光大學
5/28-29, 2013
議程:
http://history.fguweb.fgu.edu.tw/front/bin/ptdetail.phtml?Part=hi1020518&Rcg=1
2. Thoughts and things in China
Friday 14 June, 09.30–18.30
Saturday 15 June, 10.00–18.30
Stevenson Lecture Theatre
Leading scholars discuss significant issues in the field of Chinese art and archaeology in honour
of Professor Dame Jessica Rawson.
Led by panel chairs Lothar Ledderose, Wu Hung, Jenny So, Mei Jianjun, Craig Clunas, Shelagh
Vainker, Jane Portal and Chris Gosden.
Including issues such as cross-cultural interactions, ancient bronzes, tombs and afterlife, and
religion.
Organised by her students, this international conference celebrates the major scholarly
contributions made by Professor Dame Jessica Rawson at the British Museum and the University
of Oxford in her long career.
3. International Convention of Asia Scholars (ICAS8)
Macao, China
24-27 June 2013
Panel 3: Individual Papers Panel: History, Identity, and Culture in Macao
- Terry Rex Wilson (University of Macau), "The Temples of Nezha in Macao"
Panel 9: The Politics of Arts: Propaganda, Ideological Production, and Culture in Modern Asia
- Sam Zhiguang Yin (Zayed University), "'Ideological Battlefield': Propaganda and the Creation of
the Political Utility of Literature in China 1923-29"
- Tianqi Yu (independent scholar), "Producing the 'Public Self': Ai Weiwei and First Person
Action Documentary Practice in China"
Panel 12: Individual Papers Panel: Contemporary Asian art I
- Sophia Suk-mun Law (Lingnan University), "A Reflection of Hong Kong Art - Realism in the
1950s and 1960s"
- Paul Pak-hing (University of Tennessee), "The Discursive Space in Mistranslation: Cai
Guo-Qiang and the 2010 Shanghai World Expo"
- Hung Sheng (Lingnan University), "Irene Chou: A Case Study of Hong Kong Art"
Panel 26: Roundtable: The Effects of UNESCO Politics on Local Notions of Heritage (1)
Sponsored by International Institute of Asian Studies, the Netherlands
Convenor: Sadiah Boonstra (International Institute for Asian Studies)
Philippe Peycam (International Institute of Asian Studies)
Michael Herzfeld (Harvard University)
Noel Salazar (University of Leuven)
Aarti Kawlra (Nehru Memorial Museum & Library, Teenmurti House; Indian Institute of
Technology Madras)
Panel 36: Museums Re-affirming and Re-creating Identities: Recent Case Studies from across Asia
- Jacqueline Armijo (Qatar University), "Cai Guo-qiang in Qatar: Re-imagining the Silk Road and
Re-creating Historical Links between China and the Gulf"
- Esther Klein (University of Illinois at Chicago), "Adopting Sanxingdui: A Museum's New
Genealogy of Chinese Culture"
Panel 53: Roundtable: The Effects of UNESCO Politics on Local Notions of Heritage (2)
Sponsored by International Institute of Asian Studies, the Netherlands
Convenor: Sadiah Boonstra (International Institute for Asian Studies)
Philippe Peycam (International Institute of Asian Studies)
Michael Herzfeld (Harvard University)
Noel Salazar (University of Leuven)
Aarti Kawlra (Nehru Memorial Museum & Library, Teenmurti House; Indian Institute of
Technology Madras)
Panel 63: Sacred Things inside Secular Museums: New Perspectives from Asia
- Tai-Li Hu (Academia Sinica), "Ancestral Pillars in the Museum and 'Returning Souls'"
Panel 70: Certified Copy? Stories of Originality, Design, and Bandits in Urban China Today
Sponsored by China Research Centre, University of Technology, Sydney
Convenor: Maurizio Marinelli (University of Technology, Sydney)
Chair: Peter McNeil (University of Technology, Sydney)
- Carolyn Cartier (University of Technology, Sydney), "Authenticity and the Neoliberal City: The
Return of the Real"
- Maurizio Marinelli, "Domesticating Foreignness in China: The Transnational Politics of the
Copy and the Real"
- Jeroen de Kloet (University of Amsterdam) and Yiu Fai Chow (Hong Kong Baptist University),
"From Fake to Shanzhai: A Tour through Da Fen Art Village"
Panel 93: Individual Papers Panel: Asian Iconography I
- Gonzalo San Emeterio (Osaka University), "Representing Childhood: The Case of 18th and
19th Century Musha e-hon"
- Amaury A. Garcia (El Colegio de México), "The Dual Regime: Political Connotations of Edo
Period Makura-e"
- Nahoko Fukushima (Tokyo University of Agriculture), "The Botanic Culture in Edo and Its
Reception of Chinese Aesthetics"
- Ellen E. M. A. Van Goethem (Kyushu University), "Site Divination and the Creation of Cultural
Memory"
Panel 107: Roundtable: Asian artists as agents of societal change at home and abroad in the 21st
century (1)
Sponsored by International Institute of Asian Studies; Asian Cultural Council, New York
Convenor: Stanford Makishi (Asian Cultural Council)
Philippe Peycam (International Institute of Asian Studies)
Sadiah Boonstra (International Institute for Asian Studies)
Zoe Butt (University of New South Wales)
Tran Luong (independent artist)
Panel 114: The Great War" and East Asia: The Cultural and Technological Networks in the 1910s
- Tze-ki Hon (State University of New York at Geneseo), "Printing Technology and the Transfer
of Knowledge: The Cultural Nexus of Power in Early Twentieth-Century East Asia"
Panel 117: Arts, Creativity, and the Politics of Urban Space in East Asia
Convenor: Hideaki Sasajima (Osaka City University)
Discussant: Motohiro Koizumi, Tottori University
- Hideaki Sasajima, "Why Did Artist Colonies Exist In a Japanese City in the 1930s And 1940s?
The Avant-Garde in Ikebukuro Montparnasse"
- Lü Pan (University of Hong Kong SPACE Community College), "Who is Occupying Wall and
Street? - Graffiti and Urban Spatial Politics in Contemporary China"
- Ran Ma (Osaka City University), "Ballsy Experiments with Daily Life at Beijing Hutong:
HomeShop and Its Politics of Public/Space"
- Eunhwee Jeon (Osaka City University), "How Gentrified Music Protests against the Creative
City"
Panel 118: Taking Care of Business: Chinese Export Art and the Commodification of Culture
Convenor: Paul A. Van Dyke (Sun Yat-sen University)
Discussant: Yee Wan Koon (University of Hong Kong)
- William Shang (Tama University), "Chinese Export Paintings and Perceptions: Eastern
Understanding and Western Tastes"
- Yinghe Jiang (Sun Yat-sen University), "Cantonese Export Portraits of Hong Merchants"
- Susan E. Schopp (University of Macau), "The French as Trend-Setters in Canton Architecture,
as Depicted in Paintings of the Factories"
- Maria Kar-wing Mok (Hong Kong Museum of Art) and Paul A. Van Dyke, "Dating the Canton
Factories 1765-1822"
Panel 125: Individual Papers Panel: Pop Culture
- Katherine Marie Mezur (iindependent scholar; Freie Universitaet), "Cute (Kawaii) Exploded:
Girl Worlds in Japan and Beyond"
- Dagmar Borchard (independent researcher), "Wedding Photography in Urban China and
Modernity
Panel 132: Images of "Japan" in Contemporary East Asia
- Edward Vickers (Kyushu University), "A Totem of Chineseness: Representations of Japan in
the Museums of Mainland China, Taiwan, and Hong Kong"
Panel 134: Roundtable: Asian artists as agents of societal change at home and abroad in the 21st
century (2)
Sponsored by International Institute of Asian Studies; Asian Cultural Council, New York
Convenor: Stanford Makishi (Asian Cultural Council)
Philippe Peycam (International Institute of Asian Studies)
Sadiah Boonstra (International Institute for Asian Studies)
Zoe Butt (University of New South Wales)
Tran Luong (independent artist)
Panel 138: Individual Papers Panel: Representing Macao
- Weizi Huang (Macau University of Science and Technology), "Exploring Visitor Practices at
Macao Museum of Art: A Case Study"
- Lan Wang (Macau University of Science and Technology), "The Conflict and Merging between
Eastern and Western Cultures from the Perspective of the Christian Art in Macau"
Panel 139: The Development and Reorganization of East Asian Commercial Networks in the
XVI Century - An Analysis of Kinship and Regional Bond
Convenor: Mihoko Oka (University of Tokyo)
Discussant: Francois Gipouloux (Ecole des Hautes Etudes en Sciences Sociales)
- Toshio Kage (Niihama National College of Technology), "Nakaya Soetsu: A Trading Merchant
in the Warring States Period in Bungo, Japan"
- Makoto Okamoto (University of Tokyo), "The Hibiya Family and the Japan-China Trade in the
Mid-sixteenth Century"
- Gakusho Nakajima (Kyushu University), "The Folangji Bring Folangji: Smuggling Trade and
Transmission of Western Style Firearms in Maritime East Asia in the 1540s"
- Takeshi Yamazaki (Kyoto University), "The Revival of Malacca?: Malacca and Folangji in
Chinese Perspective"
- Lucio De Sousa (University of Evora; Foundation for Science and Technology, Portugal), "Fom
Slave Traders to Silk traders - The Jewish Experience in China in the Early Modern Period"
Panel 163: Workshop: Chinese Descendants in East Asia under Japanese Colonialism 1910s 1930s: Discourse Formation and its Post-war Imprints
- Kuo-an Ma (Chinese University of Hong Kong) [to be confirmed], "Moving Images, Traveling
Cities: Visualizing Transnational Flows in China, Japan and Taiwan, 1920s-1940s"
Panel 171: Publishing, Forging, and Constructing Their Culture: Uses of Local Chinese
Traditions of the Past in East Asian History
- Desmond Cheung (University of Victoria), "The Sites of Hangzhou and the Making of the
Ming Order"
- Luke Hambleton (Beijing Normal University), "Cultivating Prima-Flora: The Tradition of
Botanical Treaties Writing in Fujian and Its Impact"
Panel 172: Voices from the Past II: Discourse, Imagination, Local Voices
- Yi Jie Xie (Zhejiang University), "The Construction of Chinese Architectural Heritage
Preservation"
Panel 179: From Manufacturing to the New Luxury: Chinese Fashion at the Crossroads
Convenors: Simona Segre Reinach (University of Bologna) and Wessie Ling (University of the
Arts London)
Chair: Wessie Ling
- Wessie Ling and Simona Segre Reinach, "Multiple China: Cosmopolitanism and Identities in
Chinese Fashion"
- Juanjuan Wu (University of Minnesota), Yue Hu (Shanghai University of Engineering Science),
Lei Xu (Shanghai Second Polytechnic University), and Marilyn R. Delong (University of
Minnesota), "Chinese Fashion Designers' New Approach to Retail"
- Maurizio Marinelli and Peter McNeil (University of Stockholm), "'New Concessions': Towards a
Sensorial Economy of Luxury in Contemporary Chinese Housing"
- Xin Gu (Queensland University of Technology), "Creativity, Craft, and Manufacture - A Case
Study of Independent Fashion in Shanghai"
Panel 180: Individual Papers Panel: Chinese Feminities II
- Man Man Huang (University of Macau), "Chinese Export Silk for the American Market in the
19th Century"
Panel 197: Individual Papers Panel: Contemporary Asian art II
- Minna Valjakka (University of Helsinki), "(Semi-)legal Manifestations of Urban Art in Chinese
Cities"
- Svetlana Kharchenkova (University of Amsterdam), "Art or Business: Commercialization of
Contemporary Art Galleries in China"
- Meiqin Wang (California State University at Northridge), "Invisible Body, Little Men, and the
Predicaments of Existence in an Urbanizing China"
Panel 198: Power and Identity in Chinese Architecture and Space
Convenor: Shaoqian Zhang (Oklahoma State University)
Discussant: Shaoqian Zhang
- Yitao Xu (Peking University), "A Brief Discussion on Power in the Spatial Patterns of
Traditional Chinese Architecture"
- Lala Zuo (Swarthmore College), "An Interim between Political Authorities: The Regionalization
of Yuan Timber Architecture"
- Tian Gao (Tsinghua University), "Beijing Central Axis: The Symbol of the City"
- Delin Lai (University of Louisville), "The Peking National Library: A Modern Construction of
Knowledge, Cultural Identity, and Civil Space"
- Alexandra Harper (Tsinghua University), "The China Hype in European Architecture"
Panel 209: Architectural Heritage in Asia
Sponsored by International Institute of Asian Studies; Delft School of Design
- Gregory Bracken (Delft School of Design), "New Wine in Old Bottles: Shanghai's Architectural
Heritage: Gentrification versus Adaptive Reuse"
Panel 226: Re-evaluating the Uses of Visual Forms and Aesthetic Style within East Asian
Buddhist Practice
Convenor: Kathleen Ryor (Carleton College)
Chair: Kathleen Ryor
Discussant: Paul Copp (University of Chicago)
- Tracy Miller (Vanderbilt University), "Perfecting the Sacred: Radial Symmetry in the Religious
Architecture of Early Medieval China"
- Kathleen Ryor, "Style as Substance: Literati Buddhist Ink Painting and Devotional Practices in
Late Ming Dynasty China"
- Yan Yang (Yale University), "The Toji Landscape Screen: What's Remembered and Forgotten
about Its Religious Function in the Modern Era"
- Karil J. Kucera (St Olaf College), "Good Karma or Bad Kitsch? Visualizing the Afterlife at
Kosanji"
Panel 227: Exhibiting the Regional Identities of Southern China during the 20th and 21st
Centuries
Convenor: Yu-ping Luk (Lingnan University)
Discussant: Shaoyang Lin (City University of Hong Kong)
- Pui Pedith Chan (City University of Hong Kong), "Visual Representation of Regional Culture:
The 1940 Exhibition of Guangdong Cultural Heritage"
- Yu-ping Luk, "Guangdong Regional Identity and an Exhibition of Paintings in New York in
1947"
- Vivian Wing Yan Ting (Hong Kong Baptist University), "Talkover/Handover: Visualising
Cultural Identities in Post-colonial Hong Kong"
Panel 253: Sex and Gender in Asian Art
- Ikumi Kaminishi (Tufts University), "Lady Zenmyo's Piety in the Illustrated Legend of Kegon
Sect"
Panel 258: Individual Papers Panel: Yunnan, Minorities, and Education
- Peng-hui Wang (National Taiwan University), "Revolution beyond Evolution: Dong Guan-zhi
and his Pictorial Illustrations of Yunnanese Natives in Early Republican Period"
Panel 261: Individual Papers Panel: Between Occidentalism and Orientalism
- Thijs Weststeijn (University of Amsterdam; Royal Netherlands Institute in Rome), "The
Netherlands in Late Imperial China: Images and Ideas"
Panel 271: Embodying Masculinities and Physical Appearance in Everyday Spaces of Work,
Home, Consumption, and Leisure across Asia IV
- Kevin Lam (Northwestern University), "Masculinized in Oil: The Identity of the Female Artist
in Self-Portraits in Republican China, 1911-1949"
Panel 274: I Was Here: Mediating Experiences with Ink and Photography in Modern and
Contemporary Japanese Visual Culture
Convenor: Olivier Krischer (independent scholar; ArtAsiaPacific Magazine, Hong Kong)
Chair: Olivier Krischer
- Rhiannon Paget (University of Sydney), "Ink and the Politics of Memory: Komuro Suiun's
Travel Paintings of China and Korea"
- Olivier Krischer, "Being 'Asian' in China: Images of Modern Japanese Scholars Traveling in
China at the Turn of the Twentieth Century"
- Fuyubi Nakamura (Tama Art University), "Traces of Time through the Brush and Lens: A
Japanese Travel Diary from the 1930s"
- Toby Slade (University of Tokyo), "You Are What You Eat: Food Photography, Image
Consumption and Strategies of Self-Hood in Japan"
Panel 275: Europeans in East Asia from the Mid-Nineteenth to the Mid-Twentieth Century:
Elements for a Social History of Globalisation
- Heejung Suh (Seoul Digital University), "How to Memorize Transnational Activities? Bruno
Taut as an Architect in Berlin and Tokyo during the 1930s"
Panel 298: The Map and Music of Matteo Ricci
Sponsored by Institute for Advanced Study, University of Minnesota
Convenor: Ann Waltner (University of Minnesota)
Chair: Ann Waltner
- Linda Pearse (Mt. Allison University)
- Ann Waltner
- Fang Qin (Capital Normal University)
Panel 303: Ritual Transformations and the Nationalization of Religion: The Shifting Role of
Shinto Ceremonies in Meiji Japan
Convenor: Michael Wachutka (University of Tübingen)
Discussant: Takashi Fujitani (University of Toronto)
- Rosemarie Bernard (Waseda University), "Modernization of Ise's Shikinen Sengû (1869-1929)"
- Yijiang Zhong (National University of Singapore), "Ritual Transformation at the Izumo Shrine"
- Teruomi Yamaguchi (Kyushu University), "Rituals and Faith within the Imperial Family: The
Establishment of Shinto Court Ceremonies and the 'Renaissance' of Buddhism"
- Michael Wachutka, "New Rituals for a 'National' Education: The Replacement of the Confucian
Sekiten with the Shintoist Gakushinsai"
Panel 310: Individual Papers Panel: Asian Iconography II
- Lai Pik Chan (Chinese University of Hong Kong), "Melting East and West: An Exceptional Jade
Carving"
- Andreas Janousch (Universidad Autónoma de Madrid), "Textuality and Space: Steles,
Inscriptions, and the Sense of Space in a 16th-Century Temple, Southern Shanxi"
Panel 336: Individual Papers Panel: Asian Sounds
- Ury Eppstein, (ebrew University of Jerusalem), "Music Instruments in Ukiyo-e"
Panel 337: Ruins, Heritage, and Monumentality in China
Convenor: Xavier Ortells-Nicolau (Universitat Autònoma de Barcelona)
Discussant: Cathryn Clayton (University of Hawaii at Manoa)
- Shuli Wang (University College London), "From Ruin to Heritage - Memories of Yin Ruin
Archaeological Site"
- Angela Becher (School of Oriental and African Studies), "From Debris to Spectacle Postsocialist Monumental Architecture in Chinese Visual Culture"
- Xavier Ortells-Nicolau, "Against the Ruin: Demolition Sites in Contemporary Chinese
Artworks"
Panel 339: Visualising East Asia: Diasporas and (Post)digital Dialogues
- Patricia Eichenbaum Karetzky (Bard College), "Contemporary Art of Chinese Diaspora"
- Elizabeth Parke (University of Toronto), "Cao Fei as Artist and Diasporic Cyborg"
- Ming Turner (National Chiao-Tung University), "Between Human and Beast: Hybridisation and
Transformation in Daniel Lee's Art"
1.
Global goes Local: Visualizing Regional Cultures in the Arts of Greater China
Hong Kong Baptist University
June 27-29, 2013
Speakers include, among others:
· Prof. Toshio Watanabe, University of the Arts London
· Mr Feng Boyi, Independent Curator
· Dr Lars Nittve, M+
· Dr Pi Li, M+
· Prof. John Aiken, Hong Kong Baptist University
· Prof. Huang Xiaopeng, South China Normal University / HB STATION, Times Museum,
Guangzhou
· Prof. Frank Vigneron, Chinese University of Hong Kong
· Dr Florian Knothe, University of Hong Kong
· Ms Mali Wu, Head & Associate Professor, National Kaohsiung Normal University
· Mr Frank Lei, Macao Polytechnic Institute
· Mr Lukas Tam Wai Ping, Chinese University of Hong Kong
· Dr Ho Siu Kee, Hong Kong Baptist University
· Dr Liu Yu-jen, Academia Sinica
· Dr Rui Oliveira Lopes, University of Lisbon
· Dr Lo Wai Luk, Hong Kong Baptist University
· Dr Natalie Seiz, Art Gallery of New South Wales, Sydney
· Dr Minna Valijakka, University of Helsinki, Finland
· Dr Christine Vial-Kayser, IESA / Musée-Promenade
· Dr Florian Wagner, University of Erlangen-Nuremberg
· Dr Wang Ruobing, The National Art Gallery Singapore
· Ms Annette Loeseke, Independent Researcher & Museum Consultant
2. The Yuanmingyuan in Britain and France: Representations of the ‘Summer Palace’ in the West
July 8-9, 2013
University of Manchester
Confirmed speakers include James Hevia (Chicago), Greg Thomas (Hong Kong), Nick Pearce
(Glasgow), Vincent Droguet (Château of Fontainebleau).
For further details contact: louise.tythacott@manchester.ac.uk
There is no charge for attendance but numbers are limited. To secure
(附資訊海報)
研討會徵稿：
1.
New Work In The Art History And Archaeology Of Asia
An Oriental Ceramic Society One-Day Conference For Early Career Scholars
London, Kensington Central Library
22 JUNE 2013
The Oriental Ceramic Society, a learned society founded in 1921, is organising a broad-based
conference on topics in Asian art, archaeology and material culture. This will be the second in a
series of study days focussing on different regions, with the aim of introducing a new generation
of scholars to Oriental Ceramic Society members, and emerging scholars to an audience that
includes yet reaches beyond the academic world. If you are in the early stages of a university or
museum career in Asian art history or are pursuing a doctoral dissertation, and would like the
opportunity to present your research to an informed general audience as well as specialists, we
would like to hear from you.
The Oriental Ceramic Society holds monthly lectures in London at the Society of Antiquaries in
Piccadilly on all aspects of Asian art, with particular emphasis on the ceramics of East Asia.
Lectures are published in the annual Transactions of the Oriental Ceramic Society. This new
initiative aims to provide a platform for younger researchers, curators and academics to discuss
their work before an audience of colleagues and collectors. Summaries of lectures and selected
full papers will be published in the Transactions.
In addition to the lecture programme and a regular newsletter with research updates, book
reviews and bulletins on new archaeological discoveries, OCS activities include: study days and
conferences; exhibitions drawn from members’ collections; discussion and handling groups; visits
to private and public collections; tours to kiln sites and museums
in China.
Please send an abstract of not more than 500 words to ocs.london@btinternet.com preferably
before 28 February 2013.
2.
The Conservation of East Asian Cabinets in Imperial Residences (1700-1900)
We are pleased to announce the 1st International technical workshop within the framework of
the research project “Asian interior decoration in Schönbrunn Palace: conservation sciences for
research, amendments and new perspectives on art and cultural history, restoration history of the
Asian collection“ to be held July 4th to 5th, 2013 at the Schönbrunn Palace Conference Centre in
Vienna.
This conference brings together conservators, conservation scientists and art historians active
in the field of conservation concerns of cabinet ensembles, porcelain, lacquer ware and paper
with East Asian context.
The conference will be highly multidisciplinary, exploring various aspects of Asian interior
decoration in imperial palaces (still existent or since lost). Lectures and discussions will feature in
the workshop. The main topics are conservation strategies for historical settings with an East
Asian context. General and thematic discussions will focus on mounting and installation strategies,
optimization of exhibition procedures (embedded in the broad field of Preventive Conservation),
and historical and modern mounting concepts (especially for ceramics). Presentations will include
conservation sciences, technical and technological examination and material analyses
(cutting-edge technologies for material and structural diagnostic of porcelain, lacquerware and
paper/watercolours). Amendments to art historical research and cultural contextualization will
concern research and determination of provenance, history and dating of objects with
contributions from conservation sciences as well as the differentiation between the imported
Asian originals, European adaptations of imported goods or European works modeled on
original Asian ceramics and lacquer items. In addition, case histories will be an essential part of
the workshop – zooming in on the ensemble of collections, on their history, on the history of
individual objects, while at the same time always considering their restoration history.
Technical details:
The workshop is organised by the University for Applied Arts/ Institute of Conservation and
Restoration, and the Schloß Schönbrunn Kultur- und Betriebsges.m.b.H. Support is given by the
Austrian Science Fund.
The lectures planned should not exceed 20 min.
Call for Papers Papers about related topics are welcome. A 2000 character abstract should be
submitted by 28.03.2013. Full papers (10 - 15 pages including references, notes, graphs and tables)
for the planned postprint volume should be submitted by 30.04.2013. The abstract should
contain the full title of the paper, full names of the authors, addresses of their institutions and
e-mail contact details and should be supplemented by 5 key words and a short CV.
Language: English
Workshop fee: 200€ (students reduced fee of 80€), lecturers free of charge.
Contact:
If you wish to present a contribution, please send an abstract by March 28th, 2013 to:
kons-rest@uni-ak.ac.at Project leader Prof. Dr. Gabriela Krist
Project coordination Birgit Müllauer
Please feel free to distribute this call to everybody who might be interested.
3.
Conference Venue: Harvard Center Shanghai
Date: 24-25 October 2013
Call for Papers - 参会学者请作限时 20 分钟的中文或英文陈述。
Scholars are invited to present twenty-minute talks in either Chinese or English
Villa I Tatti - The Harvard University Center for Italian Renaissance Studies (Florence), is
pleased to announce a two-day conference at the Harvard Center Shanghai, the first event in
China to address the field of Italian Renaissance Studies. This conference, complete with
simultaneous translation, aims to help create a community of scholars in Greater China who can
collaborate and exchange ideas about their related interests. It will present recent research by
scholars in Greater China who study or teach any topic relating to the Renaissance, broadly
defined as the period ranging from the 13th to the 17th centuries. This will provide an
opportunity for scholars at all levels to establish and develop contacts, especially with colleagues
working in different departments. The organizers welcome proposals that consider the art,
architecture, history, literature, music, philosophy, religion, and science of Renaissance Italy, as
well as historiography of the period, and the circulation of ideas, objects, and people. One section,
devoted to education, will explore different ways that the Renaissance is and could be taught in
Chinese universities and academies. Lino Pertile, Director of Villa I Tatti, will give a lecture on
"Morality and Success from Dante to Machiavelli."
This conference is organized by Villa I Tatti, in collaboration with the Harvard Center Shanghai
and the Department of Art History in the College of Fine Arts, University of Shanghai.
Participants in the I Tatti Summer Seminar 2013, on “The Unity of the Arts in Renaissance Italy,”
will take part in the conference thanks to a grant from the Getty Foundation (Los Angeles)
through its “Connecting Art Histories” initiative. We are pleased to have the institutional support
of the School of Humanities, Central Academy of Fine Arts (Beijing), Harvard-Yenching Institute
(Cambridge, Mass.), the Museum of Art and Archaeology at Zhejiang University (Hangzhou), and
the Department of Art History and the College of Letters and Cultural Heritage, Tainan National
University of the Arts (Tainan City).
CALL FOR PAPERS:
Please include a title and 250 word summary, in both English and Chinese.
请附以中英文双语标题和 250 字论文摘要。
Applicants are required to:
• live and work in Greater China (Mainland, Taiwan, Hong Kong, or Macau).
• teach or study any aspect of the Italian Renaissance; this could be part of a course or research
on a broader topic, e.g. Western culture.
• have a PhD (for professors);
MA or March (for curators and architects); or a Ph.D.
dissertation in progress (for graduate students)
• have a basic command of English, in order to communicate with conference organizers. (The
paper itself can be given in Chinese or English.)
Deadline for Paper Proposal: 15 June 2013