The
World-Wide Web Virtual Library [Alphabetical || Category Subtree || WWW VL database]
Arts of
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Listings below are organized chronologically.
Nancy S. Steinhardt (University of Pennsylvania)
Penn Museum
6 January 2010
[from Penn Museum, 9/7/09]
Examine the funerary world of the First Emperor, who in death broke with the millennial-old precedent of sacrificial burial and instead had thousands of life-size clay warriors accompany him into the afterlife.
Lecture Series 2009/2010
University of Heidelberg
Heidelberg, Germany
[from H-ARTHIST, 10/6/09]
The Cluster of Excellence "Asia and Europe in a Global Context" at the University of Heidelberg presents "The Power of Things and the Flow of Cultural Transformations" Lecture Series 2009/2010.
Coordinator: Lieselotte E. Saurma
The lecture series aims at describing the role of things, artefacts, luxurious objects, and ideas in cultural processes. Material artefacts such as monuments, paintings, manuscripts, carpets, vessels etc. are signs of cultural self-definition even if they are integrated from far away. Thus culture is in a permanent process of becoming "colonized" by objects getting so familiar, that they are embedded in the social and economic context as "natural" indigenous things, specific signs of this culture. Normally, these processes were not guided consciously, it is rather a question of cultural achievements, started by networks such as courts, monasteries, legations and organisations, transferred from single groups or even individuals in the language of their own contexts, increasing the own cultural identity. Such forms of transgression demand an inappreciable process of adaptation, guided by upper classes top down, although in modern societies, a development bottom up is possible, too. Therefore, this effort of integration assumes a translation in inner cultural self-understanding, an adaptation of knowledge and the framing of objects in their new traditional context.
Things and Culture
15 + 29 October 2009
Nearer East
5 + 26 November, 3 December 2009
East Asia and the West
7 January 2010
Toshio Watanabe (University of the Arts London), "Modern Japanese Garden in a Transnational Context"
14 January 2010
David J. Roxburgh (Harvard University), "Ghiyath al-Din Naqqash's Report on
the Embassy to Khanbaligh: Artistic Exchange Between the Timurid and Ming
Dynasties"
21 January 2010
Charles Burnett (Warburg Institute, University of London), "Musical Instruments as Conveyors of
Meaning from One Culture to Another"
28 January 2010
Timon Screech (School of Oriental and African Studies, University of London), "Export Items of the English East India
Company in the Early 17th Century"
For more details please contact Philipp Sack.
Shuenn-Der Yu (Academia Sinica)
Universidade Nova de Lisboa
Lisbon, Portugal
8 January 2010
[from CORPUS, 12/12/09]
Part of the international conference "The Beautiful and the Ugly: Body Representations," 7-8 January 2010.
Hong Kong Museum of Art
9 January 2010
[from LCSD, 1/16/09]
"Lingnan culture" is the common thread that links people's values and way of life in Hong Kong and Guangdong Province. Due to two-way migration, there have always been strong family and business connections between the two places. So despite Hong Kong’s British colonial history, and despite the influence of Beijing, Lingnan culture is considered the root of Hong Kong’s culture. As the soul and essence of Lingnan culture, Lingnan painting has had a significant impact on the evolution of the style of modern Chinese painting and Southern architecture and design aesthetics. The speakers will share their insights about the grand vision and the temperament that are unique to Lingnan culture, in terms of the visual arts, art history, design and architecture. [Symposium conducted in Cantonese.]
Speakers:
WANG Shouzhi (Shantou University)
CHEN Ying (Guangzhou Museum of Art)
Lesley Lau (Hong Kong Heritage Museum)
SZETO Yuen-kit (Hong Kong Museum of Art)
Raymond Tang (Hong Kong Museum of Art)
Moderator:
TANG Hoi Chiu (Hong Kong Museum of Art)
Chang Jiahuang
"Rebirth of Folk Art" Series
Ullens Center for Contemporary Art
Beijing, China
9 January 2010
[from UCCA, 1/16/10]
Chang Jiahuang is an artist living in Japan, and is the son of Chang Shuhong, the renowned scholar. He is a specialist of Dunhuang studies, and is also known to many as "the protector of the Dunhuang caves." Chang Jiahuang has long been engaged in the protection and research of Dunhuang art, and has made a great effort to fulfill his father's last wish of building new caves in Dunhuang.
Greg Levine (University of California, Berkeley)
University of California, Santa Barbara
11 January 2010
[from EALCS, 12/5/09]
"Everyone’s looking for something." Some of us have found it, or part of it, in Zen Art, though the types of things we look at, the way we talk about them, and the sorts of Zen we draw from them may be dramatically different. Indeed, the easily joined words "Zen" and "Art" exist in dynamic tension, grammatically as well as conceptually, and bring to mind other intersections: "East" and "West," practitioner and scholar, past and present. This paper explores some of the tensions, or perhaps currents and cross-currents, that accompany modern looking at and explaining Zen Art. It offers an episodic history of the formation and reception of Zen Art in modern era and re-considers, somewhat insistently, fIgures such as Arthur Waley, Hisamatsu Shin'ichi, and, even, Murakami Takashi.
Gregory Levine is Associate Professor of Japanese art history in the Department of His-tory of Art, University of California, Berkeley. His book, Daitokuji: The Visual Cultures of a Zen Monastery (University of Washington Press, 2005), was a fInalist in 2007 for the Charles Rufus Morey Prize ("for an especially distinguished book in art history") awarded by the College Art Association. He was co- curator with Yukio Lippit of the exhibition Awakenings: Zen Figure Paintings from Medieval Japan (Japan Society, 2007) and catalogue co-editor and contributor.
Lorinda Wong (Getty Conservation Institute)
Courtauld Institute of Art
London, UK
12 January 2010
[courtesy of C. von Spee, 1/8/10]
In China, architectural painting of Qing wooden buildings has traditionally been restored — repainted — rather than conserved. Recently, this practice has been changing, with conservation becoming a more favoured and viable option. But deciding whether to conserve or restore remains much debated. There is no accepted approach to decision-making that provides a clear, systematic and unbiased process for evaluating options and determining the most appropriate solution for a given site. With the risks posed by rapid development, the Getty Conservation Institute working with Chinese authorities focused on this problem. We used as our case study the painted architectural decoration of the Shuxiang Temple, one of the Outlying Temples of the Imperial Mountain Resort at Chengde. Adopting a values-based decision-making process, as advocated in the Principles for the Conservation of Heritage Sites in China, the aim was to offer a model of a methodical and transparent approach to ensure best practice and responsible management of heritage sites with architectural paintings in China.
Enquiries: David.Park@courtauld.ac.uk.
Tetsurô Gotô (Nikon)
Maison de la culture du Japon à Paris
Paris, France
13 January 2010
[from MCJP, 1/17/10]
Au Japon, l’industrie de la photo s’est considérablement développée après la seconde guerre mondiale grâce à la passion des Japonais pour la miniaturisation et leur remarquable minutie. Cette évolution se poursuit avec l’amélioration toujours plus grande de la qualité et l’explosion du numérique. Aujourd’hui, le Japon est le leader mondial de l’appareil photo numérique. Du daguerréotype aux plus récents appareils photo, c’est cette formidable évolution que retracera Tetsurô Gotô, conseiller et general manager du laboratoire Imaging Product R & D de la société Nikon.
49th Annual Meeting
University of Louisville
Louisville, KY
15-17 January 2010
[from SECAAS, 1/1/10; panels/papers relating to visual and material culture listed below]
Panel 8. Chinese Art and Politics
- Lawrence Chang (University of Illinois at Urbana-Champaign), "Soft Power of the Qing State during the Qianlong Period"
- Jingmin Zhang (University of Maryland at College Park), "Chinese Palace Painting in Modern Japanese Art"
Panel 9: Beyond Context: Chinese Painting and Illustration
Chair: Li-Ling Hsiao (UNC-Chapel Hill)
- David Ross (UNC-Chapel Hill), "Alarm in the Night: Lin Fengmian’s Speeding Birds in Western Context"
- Alexander Wille (Washington University in Saint Louis), "'Spirit of the Deep Sands': Understanding Sha Wujing in the Illustration of Xiyou ji"
- Jing Zhang (New College of Florida), "Framing Narratives: Illustrations of Reading in Some Chongzhen Fiction"
- Li-ling Hsiao, "Beyond Words: Color Stationery and Letter Writing in Min Qiji’s Illustration of Xixiang ji"
Panel 10: Japanese Culture and Society
- Richard Rice (University of Tennessee/Chattanooga), "The Role of the Identity Museum in Presenting Ainu Culture"
Panel 12: Politics in Northeast Asia
- David Nelson (Austin Peay State University), "Creating Japan's Imperialist Image: Colonial City Building in Formosa and Manchuria"
Panel 15: East Asian Culture and Society
- Kelly Kahmann (University of Kentucky), "Evidence of Artistic Transfer in Northeast Asia: Korean Goryeo Inlaid Celadons and Liao Three-color Glazed Ware"
- Delin Lai (University of Louisville), "Translation: A Strategy for Modernizing Chinese Architecture"
Art Palm Beach Fair
Palm Beach, FL
16 January 2010
[from Art Palm Beach, 1/10/10]
Internationally renowned curator Alexandra Munroe of the Guggenheim Museum (NYC) joins three major artists to discuss this historically significant movement; Dr. Kuiyi Shen (San Diego) a Professor of Art History at University of California, San Diego; the curator of the Metropolitan show and the leading scholar in America in the field of Chinese contemporary art and Michelle Yun, formerly of the Museum of Modern Art in New York and director of the studio of the artist Cai Guo-qiang (NYC).
Yao Ye
"China New Design" Series
Ullens Center for Contemporary Art
Beijing, China
16 January 2010
[from UCCA, 1/16/10]
Just like a child’s development, each new product has a very individual story. SHAN’s designers will disclose what is behind their most forward thinking design projects and discuss their ideas about design with UCCA audiences.
Today Art Museum
Beijing, China
17 January 2010
[from TAM, 1/16/10]
Upon the time that the exhibition Super Generation @ TAIWAN (18 January - 12 February 2010) was held at Today Art Museum, the team members of the exhibition program will share us the status of contemporary art in Taiwan, as well as the thinking of a new generation of artists regarding the future of the art, with which they hope to open a new window for the cross-strait cultural exchange. Participants in this lecture are: Executive Director of the MOCATaipei J. J. Shih, curator of Super Generation @ TAIWAN Yu-chieh Lin, as well as some of the participating artists.
Lukas Nickel (School of Oriental and African Studies, University of London)
Asia House
London, UK
18 January 2010
[from Asia House, 11/22/09]
Michel Lee (Museum of East Asian Art, Bath)
Oriental Ceramic Society
London, UK
19 January 2010
[from OCS Autumn Programme 2009, 9/26/09]
The attitude towards foreigners in China during much of the nineteenth century was one of high anxiety and, at times, animosity that stemmed from cultural clashes between China and the West and the ever increasing trading ambitions of Western colonial powers. This was especially felt in Guangdong province. Canton (Guangzhou), the capital of the province, was the only designated port of the sea trade dealing with foreign merchants from the middle of the Qing Dynasty until the First Opium War (1840-1842). The potters of the Shekwan (Shiwan) kilns, about forty miles from the provincial capital, catered towards these anxieties by creating a repertoire of Shekwan ceramics that depicts Westerners in various subservient poses.
Although humiliating defeats by the British during the Opium Wars resulted in strong Cantonese resentment towards Westerners, trade with foreigners also brought much prosperity to the Pearl River Delta. With Guangdong's long history of interaction with overseas traders, foreigners would have been associated with the status and wealth that came with commercial pursuits. The potters of Shekwan harnessed these associations with Western merchants (predominately European) that the Cantonese living in and around Canton would surely have seen. By symbolically lowering the status of the prosperous Westerner by putting him in a position of subservience, those who used these wares were at once protesting foreign interference in China and at the same time using the iconography of the foreigner in place of more traditional icons of wealth and prosperity. This talk explores the historical circumstances from which these Shekwan wares were made and how the Cantonese used these wares to respond to nineteenth century Sino-Western relations.
Michel Lee is the Curator of the Museum of East Asian Art in Bath, UK and a Council Member of the OCS. He received his BA in Anthropology at the George Washington University in Washington, D.C., after which he served as a Researcher and Project Coordinator in the Department of Anthropology, National Museum of Natural History, Smithsonian Institution. He played key research roles in the publication of catalogues and the development of both short and long-term exhibitions relating to Asia. Mr. Lee received his MA in the History of Art and Archaeology at SOAS. He is currently co-authoring a catalogue of a private collection of Korean ceramics, which will be published by the Smithsonian Institution.
Robert Mowry (Harvard University)
Rhode Island School of Design Museum
20 January 2010
[from RISD, 11/15/09]
Robert D. Mowry, the Alan J. Dworsky curator of Chinese art at the Arthur M. Sackler Museum at Harvard University, discusses scholarly controversies related to these exquisitely glazed and beautiful forms, which are prized as some of the most compelling ceramics ever made. Presented by the Pottery and Porcelain Club.
Lothar von Falkenhausen (University of California, Los Angeles)
University of Chicago
21 January 2010
[from Chicago, 9/7/09]
Even though it is generally acknowledged that the ritual bronzes of the Shang and Zhou dynasties (ca. 1500-256 BC) are among the most magnificent artistic creations of the ancient world, and archaeological discoveries during recent decades have greatly increased the amount of provenienced data, their art–historical understanding has stalled since the early 1950s. This lecture summarizes the current state of research and attempts a new comprehensive overview of the basic art-historical problems that must be addressed in order to do full justice to this fascinating body of materials. Topics to be covered will include function, style, iconography, epigraphy, manufacturing technology, patronage and socioeconomic context, as well as the interrelation of all these.
Lothar von Falkenhausen is Professor of Chinese Archaeology and Art History and Associate Director of the Cotsen Institute of Archaeology at UCLA. His specialty is East Asian archaeology, with an emphasis on the great Bronze Age of China (ca. 2000-200 BC). He does not have a BA, but he obtained an MA in East Asian Studies (1982) and a PhD in anthropology (1988) from Harvard University; he also attended (for two years each) the University of Bonn, Peking University, and Kyôto University. Before joining the faculty at UCLA since 1993, Professor von Falkenhausen taught at Stanford University and the University of California, Riverside, and he has held visiting professorships at numerous institutions in Europe and Asia. He has published more than one hundred articles, books, and edited volumes; the two most important being two books, Suspended Music: Chime Bells in the Culture of Bronze Age China (1993) and Chinese Society in the Age of Confucius (1000-250 BC): The Archaeological Evidence (2006). Since 1999, he has served as the American co-Principal Investigator of UCLA's joint field project with Peking University, entitled "Landscape Archaeology and Ancient Salt Production in the Upper Yangzi River Basin" and as co-editor of the bilingual series Salt Archaeology in China (2006-). He is also the founding co-editor of the Journal of East Asian Archaeology (1999-).
François Lachaud (Ecole Française d'Extrême-Orient)
Musée Guimet
Paris, France
21 January 2010
[from Guimet, 11/15/09]
La forme d’une ville change plus vite que le cœur des hommes. L’estampe japonaise, connue tout d’abord sous le nom d’« image du monde flottant » (j. ukiyoe), vieil écho du monde d’affliction du bouddhisme, est devenue un moyen de communication qui, par la richesse ses procédés techniques en constante évolution, a pris le nom d’« image de brocart » (j. nishikie). L’un de ses « derniers » grands maîtres, Kobayashi Kiyochika, a laissé un témoignage irremplaçable d’Edo à Tokyo. La mélancolie des villes et de leurs habitants est l’un des sujets favoris de Kobayashi. Nageur entre deux rives, son œuvre se situe à la croisée des mondes. Il a ainsi pris place dans le cortège des artistes qui, avec patience et amour, se sont efforcés de faire revivre un passé à jamais enfui ainsi qu’une poésie de la fourmillante cité, sans cesse en mutation, dans ses rêves et dans ses désillusions.
Ronald Egan (University of California, Santa Barbara)
Santa Barbara Museum of Art
21 January 2010
[from SBMA, 12/5/09]
Wu Qiuyuan (Central Academy of Fine Arts)
"China New Design" Series
Ullens Center for Contemporary Art
Beijing, China
21 January 2010
[from UCCA, 1/16/10]
Wu Qiuyan teaches new media at CAFA. His work involves art and design, and how new media in the social arena stands at the heart of current international developments. In this talk he will present different perspectives on working with new media, and the possible interactions between their various usages. He will also discuss digital art developments in mainland China against the wider background of its international history.
Eva Havlicova (Princeton University)
in the conference "Out of Sight: Looking without Seeing"
University of Toronto
Toronto, ON
21 January 2010
[from "Out of Sight", 1/24/10]
The full version of several papers presented [at the conference] will be published in the online University of Toronto Art Journal.
Terry Satsuki Milhaupt (independent scholar)
The Textile Museum
Washington, DC
21 January 2010
[from Textile Museum, 2/3/10]
Dr. Terry Satsuki Milhaupt, an independent scholar, traces the tradition of re-using kimono, both within and outside of Japan’s borders. Her lecture explores how kimono have been unstitched, reconfigured and revitalized, acquiring novel functions with each transformation.
Paul Bevan (SOAS, University of London)
SOAS East Asia Art & Archaeology Research Seminar
SOAS, University of London
22 January 2010
[courtesy of S. McCausland, 12/2/09]
Hu Kao had already made a name for himself in Shanghai as a cartoonist and illustrator, having begun his career at the age of 20 in 1934. After escaping from war-torn Shanghai in 1937, he made his way, via Hong Kong to the Communist base in Yan'an, were he took up a teaching post at the newly established Lu Xun Academy. Hu's early work had appeared in popular cartoon magazines such as Shidai manhua, Modern Sketch and Lunyu, where his art-deco-inspired cartoons and humorous sketches depicted well-known film stars, sports-personalities and politicians. Hu's striking, geometric style exhibited the height of 1930s Shanghai fashion, known in China as Shanghai modeng--"Shanghai Modern." However, his drawings for the Chinese classic drama Xixiang ji were singled out for criticism by the polymath Lu Xun for what he saw as the artistically constraining use of draftsmen's tools in their execution. Lu Xun's comments were perhaps more a reflection of his own taste in art, as the leading advocate of the German-expressionist-inspired New Woodcut Movement. I argue that this highly individual art-deco geometric style should be seen as one of Hu's main artistic strengths. The left-wing cartoon movement of wartime China, to which Hu belonged, remains largely unknown in the West. In China, Hu has been overshadowed by those considered to be China's cartoon greats: Ye Qianyu, Ding Cong and Zhang Leping. This paper attempts to redress this imbalance.
Kyoto National Museum
6 January - 14 March 2010
[from KNM, 12/15/09]
All lectures to be held at Kyoto Women’s College.
23 January
Meiko NAGASHIMA (Kyoto National Museum), "Meiji Emperor: Albums of Paintings, Lacquer Shelves Decorated with Sprinkled Metal Powder, and Goldfish Bowls"
6 February
Nobuyuki SENZOKU (Seijo University), "The History of the Habsburg Collection: From Rudolf II to the End of the Century"
13 February
Tomoyasu KUBO (Kyoto National Museum), "The Synchronicity of Decorative Arts: The Treasures of the Habsburgs in the Renaissance and Japan"
27 February
Yoshiya YAMASHITA (Kyoto National Museum), "The First Homecoming from Vienna! Japanese Painting Albums from Meiji 2 (1869)"
Annual Oriental Ceramic Society Lecture hosted by Bonham's
Shinya Maezaki (Ritsumeikan University)
London, UK
26 January 2010
[from OCS Spring 2010 Programme, 1/20/10]
Nixi Cura (Christie's Education London)
Royal College of Art / Victoria and Albert Museum History of Design
London, UK
28 January 2010
[from H-ARTHIST, 1/11/10]
Please arrive several minutes early to ask the staff at the main entrance of the Royal College of Art for directions to the rooms in which these talks are being held. Any queries--please contact Laura Collins.
Sharalyn Orbaugh (University of British Columbia)
St. Antony's College
University of Oxford
28 January 2010
[from Sainsbury Institute, 1/27/10]
The talk begins by discussing the characteristics of kamishibai as a medium, with a particular focus on the interplay between script, image and performance. Then it will turn to the role of kamishibai in Japanese WWII propaganda, particularly the function of kitsch in making that propaganda effective.
Sharalyn Orbaugh is Professor of Asian Studies and Women's & Gender Studies at the University of British Columbia and Research Associate at the Sainsbury Institute.
Kojima Michihiro (National Museum of Japanese History)
Tokyo National Museum
30 January 2010
[from TNM, 11/15/09]
KANG Cai-Yuan (Ming Chuan University)
National Museum of History
Taipei, Taiwan
30 January 2010
[from NMH, 1/16/10]
Timon Screech (SOAS, University of London)
in the conference "Città/Isola [City/Island]"
Syracuse, Italy
30 January 2010
[from H-ARTHIST, 1/22/10]
Mark Teeuwen (University of Oslo)
University of Cambridge
UK
1 February 2010
Joshua S. Mostow (University of British Columbia)
School of Oriental and African Studies
University of London
3 February 2010
[from Sainsbury Institute, 1/27/10]
The talk concerns a narrative "long-poem" (chôka) written by Fujiwara no Takafusa (1142-1209) about his unhappy triangular relationship with one of Emperor Takakura's women, Kogô. Takafusa models his description on the affair between Narihira, the Nijô Empress, and Emperor Seiwa, as told in the Ise monogatari (mid-10th cen.). The lecture will conclude by considering why this story of imperial cuckolding was chosen for exquisite illumination in the salon of Retired Emperor Fushimi in the early 14th century.
Joshua S. Mostow is Professor of Asian Studies at The University of British Columbia, Vancouver, Canada, and Robert and Lisa Sainsbury Fellow 2009-2010. [His] publications include Pictures of the Heart: The Hyakunin Isshu in Word and Image (1996); Gender and Power in the Japanese Visual Field (2003); and, with Royall Tyler, The Ise Stories: Ise monogatari (Hawaii, June 2010).
Irene Good (Peabody Museum of Archaeology and Ethnology, Harvard University)
Harvard University
Cambridge, MA
3 February 2010
[from Asia Center, 2/3/10]
Questions? iaas@fas.harvard.edu or (617) 495-3777.
Hélène Bayou (Musée Guimet)
Musée Guimet
Paris, France
4 February 2010
[from EFEO, 12/6/09]
Pur reflet de l’évanescence de l’époque d’Edo, l’ukiyo-e, l’Image du Monde Flottant, ou plus exactement sa déclinaison xylographique, apparaît à son origine comme un archétype de l’image multiple, reproductible à l’envi et largement diffusée, généralement bon marché et de vocation publicitaire, du moins à ses débuts. De ce statut pour ainsi dire symbolique d’une imagerie éphémère, voire populaire (et parfois luxueuse dans le même temps), à ce titre autorisée à explorer les confins de certaines libertés stylistiques, l’estampe japonaise acquiert lors de son voyage vers l’Occident, très tôt au milieu du xixe siècle, une tout autre dimension. Objet de curiosité puis de toutes les convoitises à la fin du xixe siècle, dont la fonction semble pérennisée par une volonté largement occidentale de réunir pour mieux classer, muséifiée en quelque sorte, vouée paradoxalement à être conservée alors que tel n’était pas son propos premier. Sera interrogé ici ce changement drastique de statut – de l’image éphémère à l’objet de collection – suscité par l’évolution du regard et du contexte culturel, puis analysées ses conséquences, à commencer par cette gageure qui consiste à tenter d’inscrire dans la durée un art de l’impermanence.
Karl Gerth (Merton College, Oxford)
Royal College of Art / Victoria and Albert Museum History of Design
London, UK
4 February 2010
[from H-ARTHIST, 1/11/10]
Please arrive several minutes early to ask the staff at the main entrance of the Royal College of Art for directions to the rooms in which these talks are being held. Any queries--please contact Laura Collins.
Anne Dunlop (Yale University)
Institute of Fine Arts
New York University
5 February 2010
[from IFA, 1/24/10]
Wang Yarong (Institute of Archaeology, Chinese Academy of Social Sciences)
East Asia Art & Archaeology Research Seminar
School of Oriental and African Studies
University of London
5 February 2010
[courtesy of S. McCausland, 1/27/10]
In 2007, Chinese archaeologists discovered a multi-coffin tomb dated to the Eastern Zhou period, containing 47 burials, all female, wrapped in silk clothing, some survived in good condition, together with spinning and weaving tools. The discovery is the earliest in date, greatest in number and most spectacular in their structure. Prof. Wang Yarong and her colleagues from the Capital Museum Beijing worked at the site and have developed special techniques for recovering and conserving ancient textiles.
Harada Masayuki (Fine Arts Division, Agency for Cultural Affairs, Japan)
Tokyo National Museum
6 February 2010
[from TNM, 12/15/09]
[In conjunction with the exhibition The Power of Dogu (15 December 2009 - 21 February 2010).]
Matthew McKelway (Columbia University)
University of California, Los Angeles
8 February 2010
[from UCLA, 12/5/09]
Cynthia Brokaw (Brown University)
Harvard University
Cambridge, MA
8 February 2010
[from Fairbank Center, 2/2/10]
This talk is part of a project to analyze the ways in which the spread of woodblock (and other forms of publishing) worked to integrate distant regions of the empire into the Qing imperium. Professor Brokaw will examine the role that a local community of peasant block-cutters played in the expansion of woodblock publishing in Sichuan in the eighteenth, nineteenth, and early twentieth centuries; the ways in which labor relations between the block-cutters and publishers shaped the nature and scope of publishing in a borderland area; and the impact that these relations had on both the integration of Sichuan into the mainstream textual culture of the Qing empire and the development of a distinctive regional book culture. One important goal of the project is to suggest that the extension of “central” book culture to frontier/borderland areas was an important part of empire-consolidation and building in the Qing. Another, methodological goal, is to highlight the value of fieldwork—interviews with former block-cutters as well as men and women who can describe early reading (or oral literary) experiences, and collection of local materials (printed texts, manuscripts, genealogies, and so forth)—for an understanding of both the process of text production and the place of texts in local societies.
Cynthia Brokaw specializes in the history of the Chinese book. She has, with Kai-wing Chow, edited a collection of essays on late imperial book culture, Printing and Book Culture in Late Imperial China (2005). Her most recent work, Commerce in Culture: The Sibao Book Trade in the Qing and Republican Periods (2007), examines the development of different book cultures and their relevance to the growth of literacy from the late seventeenth century through the early twentieth century. She is now working on a study of the role of publishing on the southwestern frontier of the Qing empire.
Contact: vleung@fas.harvard.edu.
Museum of Far Eastern Antiquities
Stockholm, Sweden
[from OM, 1/17/10]
9 February
Petra Holmberg (Museum of Far Eastern Antiquities), "Kinesiskt mode och dräkthistoria under 2000 år [Chinese fashion and costume history over 2000 years]"
16 March
Eva Myrdal (Museum of Far Eastern Antiquities), "Kina före Kina med frågeställningar om dagens arkeologi [China ahead of China with questions about today's archaeology]"
23 March
Elisabet Hedstrand (Museum of Far Eastern Antiquities), "Religiös skulptur under 2000 år [Religious sculpture over 2000 years]"
Faculdade de Belas-Artes, Universidad de Lisboa (FBAUL)
Portugal
8-12 February 2010
[courtesy of Rui Oliveira Lopes, 1/22/10; sessions relating to East Asian visual and material culture listed below]
WEDNESDAY, 10 FEBRUARY
Arte (I)
- Fernando António Baptista Pereira (FBAUL), "Visões do império Cristão: Da Goa dourada à Acrópole de Macau [Visions of the Christian Empire: from Golden Goa to the Acropolis in Macau]"
- Rui Oliveira Lopes (FBAUL), "Reflections of Sovereign Power: Various Observations on the Painting Volume Entitled 'Entertainments of Emperor Yongzheng'"
- Fernando Garcia Gutiérrez (Real Academia de Bellas Artes de Santa Isabel de Hungria, Sevilha), "Primeros encuentros de la cultura japonesa con la de Occidente: Introducción y Desarrollo del arte occidental en Japón en los siglos XVI y XVII [First encounters of Japanese culture with the West: the introduction and development of Western art in Japan in the sixteenth and seventeenth centuries]"
- Conceição Borges de Sousa (Museu Nacional de Arte Antiga), "À Sombra da Nau: a presença portuguesa no Japão [In the shadow of the ship: the Portuguese presence in Japan]"
THURSDAY, 11 FEBRUARY
Arte (II)
- Carla Alferes Pinto (Universidade Nova de Lisboa), "Gravuras e óleos europeus, miniaturas persas e mogóis. Pintura de corte no Oceano Índico Ocidental entre os séculos XVI e XVII [Prints and oils in European, Persian and Mughal miniatures. Court painting in the Western Indian Ocean between the sixteenth and seventeenth centuries]"
- Fernando Galrito (Escola Superior de Artes e Design das Caldas da Rainha; Director Artístico da Monsta), "O Oriente visto pelo Cinema de Animação do Ocidente [The Orient as seen in animated film in the West]"
- Bernardo Rodrigues (architect), "Eponymous Flesh - Thoughts upon the ancient and the fresh"
- Fernando Rosa Dias (FBAUL), "Depois de Hiroshima: a Arte sob o Signo do Gesto [After Hiroshima: art under the sign of gesture]"
[For further information, please consult the conference web pages (in Portuguese).]
2010 Annual Conference
Chicago, IL
10-13 February 2010
[from CAA, 11/8/09; sessions/papers relating to Chinese and Japanese art history listed below]
THURSDAY, 11 FEBRUARY
Association of Research Institutes in Art History
The Role of Research Institutes in Defining Art History's Future
Chairs: Inge J. Reist (Association of Research Institutes in Art History); Marcie Karp (Association of Research Institutes in Art History)Early Modern Globalization (1400-1700) Chairs: Angela Vanhaelen (McGill University); Bronwen Wilson (University of British Columbia)
- Susan Wight Swanson (University of Minnesota), "Cannibal Complexities: Metaphors of Incorporation and Early Modern Globalization"
- Sean Roberts (University of Southern California), "Globalism, Economy, and Early Modern Print"
- Emine Fetvaci (Boston University), "From Elogia to Physiognomy: Complicating Early Modern Globalization"
- Stacey Sloboda (Southern Illinois University), "Made in China? Networks of Exchange in Ming Dynasty Porcelain"
- Claudia Swan (Northwestern University), "Exoticism at Work: Dutch Culture in a Global Context (1600-50)"National Committee on the History of Art
Emerging Art Histories
Chairs: Michael Ann Holly (Sterling and Francine Clark Art Institute); Marc Gotlieb (Williams College)Isamu Noguchi Foundation and Garden Museum
In Considering Legacy: Perspectives on Philip Johnson, Donald Judd, and Isamu Noguchi
- Jenny Dixon (Isamu Noguchi Foundation and Garden Museum), " Isamu Noguchi and His Museum"
FRIDAY, 12 FEBRUARY
The Roles of Acquisition: Collecting Chinese and Japanese Art in Europe, the United States, Britain, and Australia during the Early to Mid-Twentieth Century
Chair: Noelle Giuffrida (Case Western Reserve University)
- Minna Törmä (University of Helsinki), "Playing All the Roles: Osvald Siren as Curator, Collector, Dealer, and Art Historian"
- Wei-Cheng Lin (University of North Carolina, Chapel Hill), "Refashioning China: Displaying Chinese Art at the Nelson Gallery of Art, Kansas City, during the 1930s"
- Noelle Giuffrida, "Before and Beyond: Exhibiting and Expanding the East Asian Collection of Charles Lang Freer (1912-46)"
- Michelle Ying-Ling Huang (University of St. Andrews), "Laurence Binyon’s Role as Curator and Collector in Forming the National Collection of Chinese Painting in Britain"
- Jennifer Harris (University of Adelaide), "The Japanese Collection at the Art Gallery of South Australia: Tangible Evidence of 'Civilisation and Enlightenment' (Bunmei Kaika)"Sculpture and Race, 1750-Present
- Kirsten Pai Buick (University of New Mexico), "'I Have A King': The Struggle of Race, Memory, and Representation in Lei Yixin's Memorial to Martin Luther King, Jr."Design Studies Forum
Design and the Rhetoric of Democratization
- Tao Huang (Columbia College Chicago), "Rogue Design in China: Democratizing or Devaluing Design?"Visual Culture around the Indian Ocean Littoral
Chairs: Nancy Um (Binghamton University); Prita Meier (Cornell University)
- Risha Lee (Columbia University), "A Community in Transition: Tamil Merchants in China"
- Ruba Kana'an (York University), "Dispersal and Entanglement: (Dis)locating Symbols of Authority in the Mosques of East Africa and Arabia"
- Richard Guy (Cornell University), "Architecture and Society on the Asian Seas: On the Built Environment and Social Order of the Dutch East India Company's Ships"
- Mary Nooter Roberts (University of California, Los Angeles), "Images of Efficacy: Devotional Diasporas of Shirdi Sai Baba in the Indian Ocean World"
- Murtaza Vali (independent scholar, Brooklyn, NY), "CAMP's WHARFAGE Project: Recasting the Indian Ocean as a Space of Contact and Exchange"National Endowment for the Humanities
Getting Funded in the Humanities: Grant Opportunities for Museums, Educators, and Art Historians
Chair: Sonia Feigenbaum (National Endowment for the Humanities)"It Is a Small World after All": Contemporary Art in the Age of Emerging Art Markets
Chair: Veronique Chagnon-Burke (Christie's Education)
- Anuradha Vikram (independent curator and critic, Richmond, California), "Building Critical Infrasctucture in a Developing Art Market: How International Patronage Underpins Chinese Contemporary Art and What India Can Learn"
- J. P. Park (University of Colorado), "The Cult of Origin: Ethnicity, Diaspora, and Cultural Capital in Contemporary Chinese Art"
- Till Richter (University of Texas at Austin), "Speculation vs. Real Quality and the Quality Standard Conundrum: The 3C Methods Applied to the Market for Chinese Contemporary Art"
- Saskia Sorg (Loughborough University), "Contemporary Drawings as a Opportunity to Open a Dialogue between the Artists, Market, International Artistic Institutions, and Collectors"
- Thomas Skowronek (Humboldt University), "When East Means West: Art Markets in Poland and Russia"Art History Open Session
Contemporary Chinese Art: Contexts and Narratives
Chair: Wu Hung (University of Chicago)
- Eugene Y. Wang (Harvard University), "Postmedium in Postsocialist China?"
- Ming Lu Gao (University of Pittsburgh), "Displacement in the Narratives of Chinese Contemporary Art"
- Silvia Fok Siu Har (Hong Kong University), "Micronarratives in Contemporary Chinese Art"
- Wu Hung, "Towards a Multilinear and Interactive Approach to Contemporary Chinese Art"
Discussant: James Elkins (School of the Art Institute of Chicago)Mice that Roar: Miniature Visions of Nationalism and Empire
Chair: Ben C. Tilghman (Walters Art Museum)
- Ipek Tureli (Brown University), "Imagining Nations in Miniature: A Comparison of Splendid Chinas in Florida and Shenzhen"New Media Art in China: Understanding the Emergence of the Dragon
Chair: Scott David Groeniger (University of Hawai'i, Manoa)
- Ellen Zweig (New York University, Shanghai), "Alternative Art Spaces in China: Adventures in Disappointment, Guanxi, and Language"
- Conrad Gleber (La Salle University), "China Video Stories: China as Subject, Scene, and Mind"
- William J. Andersen (American University of Kuwait), "A New 'Lure of the East': Artistic Opportunities in China"
- Scott Groeniger, "Collaboration, Cooperation, and Installation: Three Summers in Taiyuan"
- Stephen Lane (Columbia University), "Beijing and the Context of Location: The China Central Academy of Fine Art (CAFA) as Site for Studio Art and International Programs"
- Kirsten Rae Simonsen (Hawaii Pacific University), "Shopping Malls and Wall Drawings: The Zendai Museum of Modern Art's 366 Days of Art in Shanghai"Art History Open Session
Twentieth-Century Art - Yang Wang (Ohio State University), "Mediating the Avant-Garde: Russian Influences on Modern Japanese Art in the Early Twentieth Century"
- Xin Wu (American University), "Global Modernity and the Contemporary Construction of a Visual Chinese Culture Tradition"
SATURDAY, 13 FEBRUARY
Art History Open Session
East Asian Art
Chair: Amy McNair (University of Kansas)
- Walter Davis (University of Alberta), "Politic Piety: Confucianism, Conservatism, and the Social Art of Wang Yiting"
- Ai-lian Liu (University of Kansas), "Metamorphosis of a Bird-and-Flower Painting: Bird and Peach Blossoms as a Memorial Portrait"
- Pauline Ayumi Ota (DePauw University), "Navigating the Waters, Picturing the Landmarks: Both Banks of the Yodo River as Map"
- Roberta Wue (University of California, Irvine), "Collected Images from the Dianshi Studio (Shanghai, 1885): Book, Artists, Audience"
- Lei Xue (College of William and Mary), "The Elusive Crane: Metaphor and Memory in a Tombstone from Sixth-Century China"
- Yu Ping Luk (University of Oxford), "Immortalizing an Empress in Ming China"CAA Publications Committee
Celebrating the Art Bulletin
Chair: Natalie Kampen (Columbia University)
- Steven Nelson (University of California, Los Angeles)
- Zainab Bahrani (Columbia University)
- Yukio Lippit (Harvard University)
- Cammy Brothers (University of Virginia)
- Michael Ann Holly (Sterling and Francine Clark Art InstituteVisual Culture Caucus
Food Aesthetics
- Klara B. Seddon (Institute of Cultural Research, New York), "Bento Blogs: Women’s Expression in Japanese Food Culture"Historicizing Globalization: Studying the Visual in the Age of Three Worlds
- Emily Stokes-Rees (independent scholar, Brookline, MA), "Images of a 'Miraculous Metamorphosis': The Tanka Fishermen of Hong Kong"
Wu Hung (University of Chicago)
Art Institute of Chicago
11 February 2010
[from AIC, 9/6/09]
A "contemporary turn" took place in Chinese art from the late 1980s to early 1990s, reorienting an avant-garde movement and introducing wide-ranging experiments in art medium, language, exhibition, and social function. This lecture defines this crucial historical moment through analyzing key art projects, experimental exhibitions, and the language of art criticism.
Julia K. Murray (University of Wisconsin, Madison)
China Institute
New York, NY
11 February 2010
[from China Institute, 1/24/10]
This talk addresses the many different ways that artists have depicted events in the life of Confucius in creating his pictorial biography. Drawing on examples in the exhibition as well as others, such as a monumental version in the Qufu Temple of Confucius, the talk will trace the origins of the biographical illustrations and explore the significance of the many variations that developed from the fifteenth century onward. Pictorial narratives treating the life of Confucius are by no means confined to the past, and the talk will show how contemporary examples reinterpret historical sources to serve new purposes in our own day.
Julia K. Murray is Professor of Art History, East Asian Studies and Religious Studies and Senior Fellow in the Institute for Research in the Humanities at the University of Wisconsin at Madison. She is the author of Mirror of Morality: Chinese Narrative Illustration and Confucian Ideology and guest curator of the exhibition Confucius: His Life and Legacy in Art (11 February - 13 June 2010).
Sarah Schneewind (University of California, San Diego)
Harvard University
Cambridge, MA
12 February 2010
[from Fairbank Center, 2/3/10]
One might expect that shrines established to living Confucian officials would be primarily a political institution: a way for local subjects to maintain a connection with an outgoing magistrate on his way up, to pressure an incoming magistrate to maintain high standards or specific policies, or to support a popular official being impeached or imprisoned. Or, like Song shrines to local worthies, they might focus on honor and emulation of the enshrined man and exclude commoners. But there is evidence that some Ming officials enshrined during their lives were worshipped by commoners and expected to respond to requests for aid.
Sarah Schneewind is associate professor of history at the University of California, San Diego, and received her PhD from Columbia University. She is the author of a case study of the implementation of state institutional policy at the local level, Community Schools and the State in Ming China (2006), and a readable study of the context and later life of an early Ming omen, A Tale of Two Melons: Emperor and Subject in Ming China (2006). She conceived and edited Long Live the Emperor! Uses of the Ming Founder across Six Centuries of East Asian History (2008).
Contact: lkluz@fas.harvard.edu.
Yoshiko Iwamoto Wada
The Textile Museum
Washington, DC
12 February 2010
[from Textile Museum, 2/3/10]
Through artistic craftsmanship and their use of "high tech" materials, Japanese fashion and textile designers have exhibited an imaginative approach to working with natural and synthetic materials, combining hand work with technology. Yoshiko Iwamoto Wada, an artist, author, curator and textile researcher, gives us a closer look.
Delhi University
Delhi, India
12-13 February 2010
[from Delhi, 2/5/10; sessions/papers relating to visual/material culture listed below]
Session Two: Merchants and Monks from the Silk Road and Beyond
Chair: K. T. S. Sarao (University of Delhi)
- Xiaoming Wang (Renmin University), "Traders' Role in the Transmission of Buddhism into China during the Han and Tang"
- Amita Satyal (Rutgers, State University of New Jersey), "'Making Culture Portable': Silk Road Merchants and Monks as a Bridge between Indian
and East Asian Buddhism"
- Advaitavadini Kaul (IGNCA, New Delhi), "Bearing of Kashmir on the Growth of Buddhism in East Asia"
- Prashant Shukla (Delhi University), "Buddhism in East Asia: A Socio-Religious and Cultural Institution"
- Charles J. Wheeler (University of Hong Kong), "Monks, Merchants, and Mobility in the Making of a Transoceanic World: Chan Missionaries in Maritime East Asia, ca. 1650-1750"
Session Three: Buddhist Art and Architecture in East Asia
Chair: Prof. Lee Kwang-su (Pusan University of Foreign Studies)
- Paramita Paul (Leiden Univeristy), "Eccentric Portraits: Image, Visuality and the Challenge of 'Chan Art'"
- Shrikant Ganvir (Deccan College Post-Graduate Research Institute), "Cultural Linkage between the Ancient Buddhist Art of India and East Asia: A Case Study of Eleven-Headed Avalokiteshvara"
- Sujatha Reddy (Indira Gandhi National Centre for the Arts), "Vaishnavism and Saivism in Quanzhou Relics"
Art Gallery of New South Wales
Sydney, Australia
13 February 2010
[from AGNSW, 12/12/09]
The powerfully alluring images created by Japanese artist Kitagawa Utamaro (c1753-1806) have enshrined his reputation as a master of the woodblock print medium, particularly in the genre of pictures of beautiful women. On the opening day of the exhibition Hymn to Beauty: The Art of Utamaro (13 February - 2 May 2010), scholars unfold for us the urban milieu of Edo where Utamaro found inspiration in the entertainment district and balanced artistic passion, commercial demands and censorship rules. We also consider the printmaking process and the enthusiastic reception of his prints in Europe.
Program
- Jackie Menzies (Art Gallery of New South Wales), Welcome
- Takeshi Moriyama (Murdoch University), "This was Edo, c1800: the lively, colourful and fragile metropolis of Utamaro’s day"
- Khanh Trinh (Art Gallery of New South Wales), "Utamaro: art between commerce and censorship"
- Gary Hickey (University of Queensland), "Utamaro and the cultivation of 'brocade prints'"
- Julie Nelson Davis (University of Pennsylvania), "Utamaro’s 'pictures of beauties' and other social physiognomies"
- Toby Slade (University of Tokyo), "Fashion in Utamaro’s Edo"
- Amy Newland (Japanese woodblock print scholar), "Allure à la japonaise: the reception of ukiyo-e prints in 19th-century Europe"
Dore Ashton
Noguchi Museum
Long Island City, NY
14 February 2010
[from Noguchi Museum, 2/3/10]
Dore Ashton, art historian and cultural critic, has written extensively on Isamu Noguchi. With her acute visual skills and the personal insights she gained during her long friendship with him, she will discuss her very enduring relationship with Noguchi--both the man and his art.
Opening day talk
Rob Mintz (Walters Art Museum)
Walters Art Museum
Baltimore, MD
14 February 2010
[from Walters, 2/3/10]
Exhibition curator Rob Mintz provides an introduction to the art of Japanese enamel decoration highlighting nature-inspired designs and outlining the complex techniques that led to the creation of these beautiful objects.
Patricia Berger (University of California, Berkeley)
Princeton University
16 February 2010
[from Tang Center, 9/5/09]
Clarence Eng (independent scholar)
Oriental Ceramic Society
London, UK
16 February 2010
[from OCS Autumn Programme 2009, 9/26/09]
In traditional Chinese buildings, architectural ceramics both served to protect the vulnerable timber structures within and also, depending on their importance and the funding available, to ornament them. These components were specialised, highly developed and often skilfully formed and colourful. When discarded material from repairs or fragments from ruins appear as specimens in collections, some may be associated with known locations or identified by comparison with surviving buildings, but most specimens present intriguing questions of identification, origin and even purpose. This lecture addresses some of these questions by reference to two important Ming pagodas, the Feihongta in Hongdong, Shanxi Province, which still stands, and the Bao'ensita which stood in Nanjing until it was destroyed in 1854.
Dr Clarence Eng is an independent researcher with degrees from Cambridge and London Universities. During over 30 years with Shell International he held senior posts in China and the Far East. He has an MSc in Architectural History from UCL and a MA and PhD in Chinese art from SOAS.
Laura Newby (University of Oxford)
Manchester University
UK
18 February 2010
[from Manchester, 12/5/09]
Aoyagi Masanori (National Museum of Western Art, Tokyo) and Nicole Coolidge Rousmaniere (Sainsbury Institute)
Blackfriars' Hall
Norwich, UK
18 February 2010
[from Sainsbury Institute, 1/28/10]
Lisa Tamaris Becker (CU Art Museum)
Denver Art Museum
Denver, CO
19 February 2010
[from AAM, 1/25/10]
This powerpoint lecture will explore the 2006 internationally ground-breaking CU Art Museum exhibition Waves on the Turquoise Lake: Contemporary Expressions of Tibetan Art, which was organized jointly with Mechak Center for Contemporary Tibetan Art. The Waves on the Turquoise Lake exhibition featured contemporary Tibetan artists working in Tibet, The United Kingdom, Switzerland, Australia, India, and the United States (including Denver and Boulder) and was the first major museum exhibition to bring together contemporary artists working both inside and outside Tibet. The lecture will also give highlights of the more recent evolving body of work produced by participating artists since the 2006 exhibition. Lisa Tamaris Becker is the director at the CU Art Museum & the Colorado Collection, University of Colorado at Boulder.
Martin Powers (University of Michigan)
Institute of Fine Arts
New York University
19 February 2010
[from IFA, 1/24/10]
Quitman Eugene Phillips (University of Wisconsin, Madison)
Harvard University
Cambridge, MA
19 February 2010
[from RIJS, 2/3/10]
Moderator: Yukio Lippit (Harvard University)
Cantor Arts Center
Stanford University
Palo Alto, CA
19-21 February 2010
[from CAC, 1/24/10]
Presented in conjunction with the exhibition Tracing the Past, Drawing the Future: Master Ink Painters in 20th-Century China (17 February - 4 July 2010)
FRIDAY, 19 FEBRUARY
Keynote event, speaker tba
SATURDAY, 20 FEBRUARY
Panel I. Painting and Calligraphy
Moderator: Julia Andrews (Ohio State University)
- Aida Yuen Wong (Brandeis University), "Lessons from Pan Tianshou and the Limits of Realism"
- Eugene Wang (Harvard University), "Flowers in the Mirror; Moon in Water: Reinventing the Medium around 1911"
- Wang Tao (SOAS, University of London), "Archaeology and Visuality: A New Reading of Huang Binhong's Painting"Panel II. East-West Encounters Across Film and Photography
Moderator: Jean Ma (Stanford University)
- Weihong Bao (Columbia University), "Plastic Cinema, Flexible Media: Dan Duyu's Amateur Art of Beauty in 1920s China"
- William Schaefer (University of California, Berkeley), "Montage Landscapes"
- Frances Terpak (Getty Research Institute), "Brush to Shutter: Early Photography in China"
- Yingjin Zhang (University of California, San Diego), "From Shakespeare's Drama to Early Chinese Cinema: Authority and Authorship in Literary Translation and Film Adaptation"Panel III. Music and Drama
Moderator: Jindong Cai (Stanford University)
- Claire Conceison (Duke University), "Chinese Theater (Huaju) Development in the Early Twentieth Century"
- Sheila Melvin (writer and journalist), "Classical Music in Twentieth Century Chinese Society"
- Chen Yi (University of Missouri, Kansas City), "Traditional Cultural Influence on Contemporary Chinese Composers"
SUNDAY, 21 FEBRUARY
Panel IV. The Making of Modern Chinese Culture: Language, Literature, World View
Moderator: Thomas Mullaney (Stanford University)
- Chaofen Sun (Stanford University), "The Making of Standard Chinese"
- Ban Wang (Stanford University), "Socialist Realism and the Emergent Chinese Revolution"
- Haiyan Lee (Stanford University), "The Charisma of Power and Military Sublime in Tiananmen Square"Panel V. Artists' Perspectives
Moderator: Kuiyi Shen (University of California, San Diego)
- Wan Qingli (Hong Kong Baptist University), "The Achievement and Historical Significance of the Four Master Ink Painters within the Modern Era Revolution in Culture"
- Pan Gongkai (Central Academy of Fine Arts), "Self-Consciousness and Modernity in Twentieth-Century Chinese Ink Painting"
- Qianshen Bai (Boston University), "Hiring Artists as Secretariats in the Late Qing Period: The Case of Wu Dacheng (1835-1902)"Panel VI. Roundtable Discussion: Modernity, Media, Historiography
Moderator: Xiaoneng Yang (Cantor Arts Center, Stanford University)
- Richard Vinograd (Stanford University), "Alternative Historiographies for Modern Chinese Ink Painting: Beyond the Four Masters"
- Kuiyi Shen, "Ink Painting and Modern Media"
- Zaixin Hong (University of Puget Sound), "From Nationalism to Modernism: The Case of Deng Shi and Huang Binhong in Early 20th-Century China"
Joshua S. Mostow (University of British Columbia)
Sainsbury Lecture on Japanese Art
University of Cambridge
UK
22 February 2010
[from H-ASIA, 1/18/10]
Rebecca Bridgman
Fitzwilliam Museum
Cambridge, UK
24 February 2010
[from Fitzwilliam, 12/15/09]
Sôhitsu Hachiya (Shino) and Gyokudô Izumida (Daitoku-ji)
Maison de la culture du Japon à Paris
Paris, France
25 February 2010
[from MCJP, 1/17/10]
Le kôdô ou voie de l’encens est un art spirituel qui, comme la voie du thé, est né sous l’influence du zen, dans la culture de Higashiyama qui s’est développée à Kyôto au XVe siècle. Elle consiste à concentrer son attention afin d’«écouter» la senteur propre à chaque bois odoriférant. Depuis plus de 500 ans, l’école Shino perpétue cette tradition dans toute son authenticité grâce à sa transmission rigoureuse de père en fils. Sôhitsu Hachiya, jeune héritier de l’école Shino, montrera comment préparer le brûle-parfum et «écouter» le bois odorant puis il présentera la voie de l’encens. Avec Gyokudô Izumida, moine du Shôgen-in du temple Daitoku-ji, il expliquera ensuite les liens étroits entre le zen et le monde du kôdô.
Yuka Kadoi (Art Institute of Chicago)
Art Institute of Chicago
25 February 2010
[from AIC, 1/17/10]
The Mongol invasion in the thirteenth century marked a new phase in the development of Islamic art. Presenting rich visual materials from a wide variety of media—textiles, ceramics, metalwork, and manuscript painting—this lecture offers a fascinating glimpse into the artistic interaction between Iran and China under the rule of the vast and multiethnic Mongol Empire. In Iran, this period saw the birth of a distinctive and hitherto-unknown style known today as "Islamic chinoiserie."
Willard G. Clark (Clark Center for Japanese Art and Culture and the Ruth and Sherman Lee Institute for Japanese Art)
San Diego Museum of Art
25 February 2010
[from SDMA, 2/4/10]
Amanda Mayer Stinchecum
The Textile Museum
Washington, DC
25 February 2010
[from Textile Museum, 2/3/10]
The roots of Issey Miyake’s design approach lie deep in Japanese soil. This lecture by Amanda Mayer Stinchecum, a historian specializing in the cloth and clothing of Ryukyu/Okinawa and mainland Japan, examines the concepts behind the construction of the kimono and demonstrates their expression in the designs of Miyake.
Graduate Student Symposium in East Asian Art
Princeton University
Princeton, NJ
27 February 2010
[from Tang Center, 2/6/10]
Historiography and art criticism have long been classification-conscious practices. Since the earliest art-historical writing in East Asia, historians and art critics alike created hierarchical systems for rating artists and ranking categories of art, privileging selected subject matters, genres of art, and means of expression. This has, in turn, helped to consolidate the place of the visual arts within a broad hierarchy of cultural pursuits. Artists, on the other hand, have had to negotiate their way through an ever-changing social landscape—be it social stratification of any type or the more narrowly defined market comprised of the state, religious institutions, private patrons, and fellow artists. This symposium aims to explore the implications of different forms of hierarchical thinking on artistic practice, past and present, and its historiographic legacy.
Jun Hu, (Princeton University), Welcome
Morning Session
- Keynote Speaker: Marsha Haufler (University of Kansas), "Views from the Back of the Book: Monks, Women, and Foreigners"
- Bryan Lowe (Princeton University), "Empowering Texts in Nara Japan (710–784): Karakuni no Hitonari and the Treatise on Myriad Things"
- Jeffrey Moser (Harvard University), "Demystifying the Misty Mountains: The Early Critical Reception of the Mi Landscape"
- Sylvia Lee (Chinese University of Hong Kong; Harvard-Yenching Institute), "The Painting of Orchids: How Courtesan Painters Used
'Gardens' as Strategies to Move Up the Social Hierarchy in the Late Ming Dynasty"
Afternoon Session
- Luk Yu-ping (University of Oxford), "Court Painting and Hierarchies in Chinese Art History"
- Aaron M. Rio (Columbia University), "Resituating Chûan Shinkô in the History of Japanese Ink Painting"
- Stephen Whiteman (Stanford University; Dumbarton Oaks), "In the Shade of Summer Trees: Cultural Landscape and Imperial Identity at Bishu Shanzhuang"
- Lee Jeehyun (University of Pennsylvania), "History Painting and the Kazoku Class Rhetoric in Meiji Japan"
- Yang Xiao (Northwestern University), "Reflection on Social Space: Countryside and City in Nie Ou’s Painting"
Jun Hu, Conclusion
Tokyo National Museum
23 February - 22 March 2010
[from TNM, 12/5/09]
27 February
- Matsushima Masato (Tokyo National Museum), "Yamato-e Painter, Hasegawa Tohaku: From the Buddhist Paintings of the Shinshun Years to the Interior Panel Paintings of the Chishakuin"
- Yamamoto Hideo (Kyoto National Museum), "From Shinshun to Tohaku: On the Newly Discovered Folding Screen, Flowers and Birds on Gold Leaf"
6 March
- Kuroda Taizo (Idemitsu Museum of Arts), "The New Appeal of Hasegawa Tohaku: Expressions of Animals in Tohaku's Work"
Masako Shinn and Satoru Yamashita
Freer Gallery of Art
28 February 2010
[from Freer, 1/25/10]
Tokyo Visualist introduces boundary-crossing artists from Japan who blend art, video, fashion, graphics, photography, and design in their works. Join book co-editors Masako Shinn and Satoru Yamashita and their surprise guests—two of the featured artists in Tokyo Visualist—for a fascinating presentation about today’s art in Japan. Carol Huh, curator for contemporary Asian art at the Freer and Sackler Galleries, moderates the discussion.
James Folsom (Huntington Botanical Gardens)
Huntington Library, Art Collections, and Botanical Gardens
San Marino, CA
1 March 2010
[from Huntington, 2/3/10]
As the Japanese Garden approaches its centennial in 2012, join us for a look back at its origins and a look forward into the future with James Folsom, the Marge and Sherm Telleen/Marion and Earle Jorgensen Director of the Botanical Gardens.
Nicola Di Cosmo (Institute For Advanced Studies, Princeton)
University of Florida
3 March 2010
[from UF, 12/5/09]
David Brown (private collector)
Fitzwilliam Museum
Cambridge, UK
3 March 2010
[from Fitzwilliam, 12/15/09]
Simon Kaner (Sainsbury Institute) and Andrew Cochrane (project curator, unearthed)
Sainsbury Centre for Visual Arts
Norwich, UK
3 March 2010
[from Sainsbury Institute, 1/28/10]
This lecture will present the research undertaken during the development of the exhibition unearthed: Figure-making and Figure-breaking in Ancient Japan and the Balkans to be held at the Sainsbury Centre for Visual Arts in summer 2010, with particular focus on creating a framework for the effective "comparison" of ceramic figures from two very different parts of the world, and the role of contemporary art in facilitating this.
Simon Kaner is the Assistant Director of Sainsbury Institute; Andrew Cochrane is Project Curator of the unearthed exhibition at the Sainsbury Institute and Sainsbury Centre for Visual Arts.
Wang Jianwei
Today Art Museum
Beijing, China
4 March 2010
[from TAM, 1/16/10]
Over the years, Wang Jianwei has been exploring the interdisciplinary influence on the contemporary art. He has been crossing over a variety of disciplines in search of a new artistic language. His art works become multifaceted and adopt various forms, ranging from cinema, theatre, multimedia, public art and painting, etc. Time • Theater • Exhibition - Wang Jianwei Solo Exhibition held by Today Art Museum at the end of 2009 was a continuation of Wang’s art exploration, which provided the audience with a new vision of viewing and thinking. Besides discussing Wang's art works in the lecture, Today Art Museum also invite a guest speaker to have a crossover conversation with Wang and to share the interesting topics among time, theater and exhibition.
Julia Murray (University of Wisconsin)
Art Institute of Chicago
4 March 2010
[from AIC, 1/17/10]
5th International Sinology Forum
26-28 February 2010: Portuguese Catholic University of Lisbon, Portugal
5-7 March 2010: "Almeida Garrett" Municipal Council Library, Oporto, Portugal
[from Réseau Asie, 9/15/09; panels/papers relating to visual and material culture listed below]
Made in China: China Exposed, Consumption and Material Culture
Chair: Ana Margarida Abrantes (CECC-UCP)
- Vanessa Alayrac-Fielding (Université de Lille III), "China Exposed, Transposed and Metamorphosed: Consuming Chinese Material Culture and Chinoiserie in Eighteenth-century England"
- Thomas Boutonnet (Université de Jean Moulin – Lyon, Institut d'Études Transtextuelles et Transculturelles (IETT)), "Consumer 'Harmonious' Society Exposed: Visual Cacophony and Schizophrenia of Beijing's Street Billboards in 2006"
- Alison Hulme (Goldsmiths College, University of London), "On the Trail of the 'China Price': Value, Innovation and Potency in the Low-end Commodity Chain"
Exhibitions in China and China in Exhibitions
Chair: Elisabetta Colla (Researcher CCCM, I.P.; CECC-UCP)
- António Barrento (Vice-President, IPS), "Beyond Meaningless Hardship: Tourism and the West Lake Exhibition of 1929"
- Valentina Boretti (SOAS, University of London), "'To Interest Children and Instruct Parents': Toy Exhibitions in Modern China"
- Weipin Tsai (University of London), "Promoting China in the Universal Exhibition 1873 in Vienna: The Port Catalogues of Chinese Customs' Collection"
- Ming Turner (De Montfort University, Leicester), "Visualization and Globalization: Analyses of the Taipei Biennial from 1998 to 2008"
- Maurizio Marinelli (University of Bristol, Centre for East Asian Studies), "China as the New World's Exhibition? The Long March from Beijing 2008 to Shanghai 2010"
Visual Arts in China II
Chair: Tânia Ganito (ISCSP; IPS; CECC-UCP)
- Christin Bolewski (Loughborough University School of Art and Design), "A Contemporary Approach to Traditional Chinese Landscape Painting between Eastern and Western Tradition"
- Michelle Ying-Ling Huang (School of Art History, University of St Andrews), "From Exhibitions to Interpretations: The Value of Chinese Painting in Early 20th Century Britain"
- Chien Li-kuei (SOAS, University of London), "From Li Qun's Woodcut to Left Wing Identity in 1930s China"
- Michele Matteini (Center for the Advanced Study in the Visual Arts, National Gallery of Art, USA), "Landscapes after Old Masters by Luo Ping (1733-1799) or the place of Culture in 18th-century China"
- Sandy Ng (Hong Kong Polytechnic University), "Searching for the Self: Tradition and the Human Body in Contemporary Chinese Art"
- Nicole Wong (Chinese University, Christie's Education, New York), "The Contorted Sublime: Contemporary Art Negotiates Violence Embedded in Progress"
- Davide Quadrio aka Dadou (Bizart, Shanghai), "The Perfection of the Imperfection or the Principles of Adaptation"
Tourism in China
- Dennis Zuev (University of Oxford), "Building the Great Wall: analysis of representations from Tang poetry to modern tourism icon"
China Exposed, Imposed, Proposed: Representations of China II
- Eva S. Chou (City University of New York), "Representations of China: The New Look in Chinese Men, 1900-1911"
Heping Liu (Wellesley College)
Bard Graduate Center
New York, NY
10 March 2010
[from BGC, 11/2/09]
RSVP required to (212) 501-3019, <academic-events@bgc.bard.edu>. For additional information, contact Alex Phelan.
Akiko Fukai (Kyoto Costume Institute)
The Textile Museum
Washington, DC
11 March 2010
[from Textile Museum, 2/3/10]
Akiko Fukai, Director and Chief Curator, The Kyoto Costume Institute, will give a lecture on Japanese fashion. Japanese design has had a growing influence on world styles since the last decades of the 20th century as avant-garde creations by such Japanese designers as Issey Miyake, Rei Kawakubo and Yohji Yamamoto changed existing concepts of clothing. At the root of their designs, there is a desire to create clothing that coexists with our bodies; a powerful reflection of Japanese culture which places emphasis on the coexistence with nature. Fukai will look into the essence of Japanese fashion with a focus on its relation to traditional aesthetic values of Japan.
University of Virginia
Charlottesville, VA
11-13 March 2010
[from Orientations, 9/6/09 and the conference website, 1/30/10; panels/papers relating to visual and material culture listed below]
Keynote Lecture: Lewis Lancaster (University of California, Berkeley, Emeritus; Director, Electronic Cultural Atlas Initiative), "Crossing a Boundary: Where, When, How"
Session I: Silk Road Studies
Chair: Bruce Holsinger (University of Virginia)
- Albert Dien (Stanford University, Emeritus), "The Sogdian Experience in China: Assimilation or Hybridization?"
- Eric Ramirez-Weaver (University of Virginia), "Islamic Silver for Carolingian Reforms and the Buddha of Helgö: Rethinking Carolingian Connections with the East, 790–820"
- Zhang Yuanlin (Dunhuang Academy, China), "Images of Sun and Moon Gods at Dunhuang between the Sixth and Tenth Centuries"
- Kam Wing Fung (University of Hong Kong), "From Hellenistic Scientific Device to Islamic Astrolabe: An Episode of Transmission of a Non-Chinese Scientific Instrument in Late Medieval China"
- Keith Knapp (The Citadel), "Chinese Filial Cannibalism: A Silk Road Import?"
Discussant: David Summers (University of Virginia)
Session II: Gender and Medieval China
- Suzanne Cahill (University of California, San Diego), "Ominous Dress: Hufu (Barbarian Clothing) during the Tang Dynasty (619–907)"
Session III: Exchanges with Northeastern Neighbors
- Joan Piggot (University of Southern California), "Models for the Heian Capital: Links between Japanese and Chinese Courtly Cultures"
- Ryuichi Abe (Harvard University), "What Five Chinese Portraits Do for Early Heian Japan"
- Gustav Heldt (University of Virginia), "Abe no Nakamaro at the End of the Silk Road"
Session IV: New Buddhist Communities in Asia
- Yumin Lee (National Palace Museum, Taipei), "A Preliminary Study of Exchange in Buddhist Art between Medieval China and Southern India and Southeast Asia"
Session V: Image, Ritual, and Text in Esoteric Buddhism
Chair: Kurtis Schaeffer (University of Virginia)
- Liying Kuo (École Française d'Extrême-Orient, Paris), "Dhâranî Pillars in China: Function and Symbol"
- Neil Schmid (North Carolina State University), "'Whosoever Writes This Dhâranî...': The Ritual Use of Dhâranî Lecterns in Medieval East Asia"
- Henrik Sørensen (independent scholar, Denmark), "Development and Transformation in Chinese Buddhist Iconography: The Case of the Demon-General Shensha"
- Clarke Hudson (University of Virginia), "Daoist Elements in Esoteric Buddhist Texts of the Tang Dynasty"
Discussant: Victor Mair (University of Pennsylvania)
Session VI: The Cult of Avalokiteúvara
Chair: Suzanne Cahill
- Denise Leidy (Metropolitan Museum of Art, New York), "Interstices of Compassion: Bodhisattva Avalokiteúvara in China, Central Asia, and India from the Fifth to the Sixth Century"
- Takashi Koezuka (Osaka University), "Avalokiteshvara Images at Candi Borobudur"
- Sherry Fowler (University of Kansas), "Pilgrimage and the Expanding Territory of Kannon"
- Janice Leoshko (University of Texas, Austin), "Continued Engagements: Further Thoughts on the Significance of Compassion"
Discussant: Henrik Sørensen
Nicola Di Cosmo (Institute for Advanced Study, Princeton), Concluding Remarks and Discussion
Digital Workshop on Asian Art and Humanities (hosted by the Institute of Advanced Technology in Humanities)
Chair and moderators: Daniel Pitti and Worthy Martin (Co-Directors, IATH)
- Ven. Huimin (Dharma Drum Buddhist College), Keynote Address: "A Footprint and Prospect of Digital Studies on Buddhist Culture: From Digital Museum via Spatial-temporal Information System to Science 2.0"
- Susan Whitfield (International Dunhuang Project, British Library), "Mapping Silk Road Exploration, Art, Culture, and Landscape"
- Dorothy Wong (University of Virginia), "Silk Road: The Path of Transmission of Avalokiteúvara"
- Juying Shih (Academia Sinica), "Digital Archive of Buddhist Rubbings at Academia Sinica, Taipei"
- Marcus Bingenheimer (Dharma Drum Buddhist College), "Visualizing and Querying the Biographies of Eminent Monks"
- Kurtis Schaeffer (University of Virginia). "Mapping the Dalai Lamas"
- Christian Wittern (Kyoto University), "The Process of Creating a Digital Edition"
Roundtable Discussion
Chair: David Germano (University of Virginia)
Donald Harper (University of Chicago)
University of Florida
16 March 2010
[from UF, 12/5/09]
Annual Woolf Jade Lecture
Jenny F. So (Chinese University of Hong Kong)
Society of Antiquaries
London, UK
16 March 2010
[from OCS Spring 2010 Programme, 1/20/10]
From her earlier research exploring jades from the Northern Song period (10th-12th centuries), Professor So has concluded that, contrary to general belief, Northern Song antiquarianism did not lead to the production of archaistic jades; neither did its literati culture lead to the production of scholars' objects in jade. Archaistic jades and scholars' objects emerged virtually hand-in-hand only during the Southern Song period. The lecture will continue this exploration to focus on the emergence of archaistic jades from the 12th to 17th centuries, their relationships with scholars' objects in jade, and their ideas of what constituted "antique" at the time. Artefacts recovered from recent archaeological excavations datable to the 12th to 17th centuries will serve as the main sources, augmented by relevant examples from public and private collections.
Professor So received her Ph.D. from Harvard University, USA, in 1982. She is an art historian specialising in ancient Chinese bronzes and jades. Before returning to the Chinese University of Hong Kong, she was the Senior Curator of Chinese Art at the Freer Gallery of Art and the Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC. She joined the Fine Arts Department at the Chinese University of Hong Kong in 2001. She lectures on the history of Chinese jades, Chinese bronzes and methodology in art-historical studies, and supervises M.Phil. and Ph.D. students. Since 2002, she has also served as the Director of the Institute of Chinese Studies at the University. Her research focuses mainly on art and archaeology from the pre-historic period through the Bronze Age, Chinese jades from all ages, i.e., prehistoric through 20th century, issues in archaism (in bronzes and jades, not painting and calligraphy), especially in early periods, and artistic exchange between China and beyond, from antiquity through Song-Liao periods.
Julia Seagraves (Asian Art Coordinating Council)
Denver Art Museum
Denver, CO
17 March 2010
[from AAM, 1/25/10]
Ms. Seagraves will trace 1100 years of traditional Chinese landscape painting and show how that has influenced contemporary Chinese art. She is the Executive Director of the Asian Art Coordinating Council, a non-profit art organization, as well as an Asian art consultant and appraiser. Ms. Seagraves has a Masters degree in East Asian Studies with a major in Chinese art and language, and a minor in Japanese art and language. She worked as a curator for the Denver Art Museum and the University of Colorado Museum before becoming the AACC Executive Director in 1987. She is a Foreign Expert at Beijing University’s Art and Archaeology department, has been a professor at University of Denver’s University College, as well as an Asian art appraiser for Antiques Roadshow. To date she has curated 48 Asian art exhibitions and has organized their travel to US museums and non-profit galleries.
Japan Society
New York, NY
17 March 2010
[from Japan Society, 2/3/10]
Hagi is among the most celebrated of Japan's traditional wares and played an important part in the evolution of the tea ceremony. The works of the Miwa Kyusetsu dynasty have exemplified the Hagi tradition since 1663, but those of Kyusetsu XII place a modern, even iconoclastic interpretation on the family's art. Kyusetsu XII discusses his work and role as the 12th head of the Kyusetsu dynasty.
Moderated by Joe Earle, Vice President and Director, Japan Society Gallery.
Jacqueline M. Atkins (Allentown Art Museum)
The Textile Museum
Washington, DC
18 March 2010
[from Textile Museum, 2/3/10]
Western-style quilting is barely four decades old in Japan, but Japanese quilters have moved far beyond an early reliance on American design. Dr. Jacqueline M. Atkins, Kate Fowler Merle-Smith Curator of Textiles at the Allentown Art Museum, looks at the quilting phenomenon in Japan.
University of Pennsylvania
Philadelphia, PA
21-22 March 2010
[from conference website, 1/30/10; papers relating to China and Japan listed below]
- Kevin Bond (University of Regina), "Marketing Miracles: Buddhism, Commercialism, and Entertainment in Early Modern Japan"
- Jason Neelis (University of Florida), "Gandharan Materials and Manuscripts from Contact Zones between South Asia and Central Asia: Crucial Evidence for Patterns of Buddhist Transmission"
- Annette Yoshiko Reed (University of Pennsylvania), "Eurasian Trade and the Connections between 'West' and 'East': Reconsidering Early Christian References to Asia"
- James Robson (Harvard University), "Things Inside of Things: On the Materials Found Inside of Chinese Icons"
North American Coordinating Council on Japanese Library Resources (NCC)
Philadelphia, PA
22-23 March 2010
[from H-ASIA, 1/10/10]
Do you need more Japanese resources for your teaching and research? Do you hope to attend the AAS? Get a travel grant to attend both NCC's (North American Coordinating Council on Japanese Library Resources) Third Decade Conference and the AAS! And learn how to find more resources at your fingertips! What does the NCC do for you? The NCC promotes broad access to library and information resources for all users.
NCC offers guidelines for getting visual images from Japan via its Image Use Protocol Website.
NCC's Digital Resources Committee works with publishers and vendors to expand access to databases for academic users.
NCC makes grants for purchase of expensive Japanese materials through its Multi-Volume Sets program.
NCC trains users and librarians in new technologies.
For further information on NCC and its services visit NCC's website.
NCC's Third Decade Conference is NCC's once-in-a-decade international conference to help define new program priorities for the coming 10 years. To ensure that NCC develops the services most needed by Japanese studies users, NCC seeks the participation of faculty and graduate students at NCC's 3-D (Third Decade) Conference March 22-23, 2010, just prior to the Philadelphia AAS meetings. We especially invite participants from smaller institutions, without major Japanese language library collections or East Asia specialist librarians.
The Goal of NCC's Third Decade (3-D) Conference is to strengthen collaborative networks among Japanese information stakeholders to improve and support global access to Japanese information resources.
NCC¹s grant from the Northeast Asia Council of AAS will give a limited number of travel grants for economy transportation and partial lodging of registered conference participants. Grants are open to any qualified faculty member or graduate student from the US or Canada especially those from smaller regional institutions (funders restrict air travel to American carriers and all grants are made on a reimbursement basis). Register online for the NCC 3-D Conference at http://www.fas.harvard.edu/~ncc/3DConference/register.html. To apply for NCC's NEAC Travel Grants please contact Victoria Bestor.
Green Japan Series
Japan Society
New York, NY
23 March 2010
[from Japan Society, 2/3/10]
In a world where living consciously with nature is becoming more critical than ever, creators have also been crafting their art form mindfully. Architect Shigeru Ban, composer and environmental advocate Ryuichi Sakamoto and contemporary artist Mariko Mori discuss the relationship between creativity and environmental consciousness.
Moderated by Stefano Tonchi, Editor in Chief, T: The New York Times Style Magazine.
Britta Erickson (independent scholar and curator)
Cantor Arts Center
Stanford University
Palo Alto, CA
24 March 2010
[from CAC, 1/24/10]
Britta Erickson is an independent scholar and curator. She has taught at Stanford University and the University of California at Berkeley and has curated major exhibitions at the Arthur M. Sackler Gallery, Washington, DC and at the Cantor Arts Center. In 2007, she co-curated the Chengdu Biennial which focused on ink art. Current projects include producing the contemporary section of the Shanghai exhibition that will open at the Asian Art Museum in early 2010 and working on a future exhibition of ink-related contemporary Chinese art at the Metropolitan Museum of Art, New York.
Certain circles of later Qing dynasty painters generated a new way of thinking, the most important being a new view of the artificiality of art. This profound change led to a flattening of the pictorial space, a focus on the paper’s surface, the incorporation of "found" objects into painting compositions, and the production of trompe-l’oeil images. One hundred years later, artists have once again radically rethought the possibilities inherent in ink painting, influencing contemporary media such as video, installation, photography, and oil painting.
Sadako Ohki (Yale University Art Gallery)
Yale University Art Gallery
New Haven, CT
24 March 2010
[from YUAG, 2/3/10]
William H. Coaldrake (University of Melbourne)
Art Gallery of New South Wales
Sydney, Australia
[from AGNSW, 12/12/09]
Japan's city of Edo was the seat of power for the Tokugawa shoguns from the 17th- 19th centuries. It grew to be one of the largest cities in the world and the centre for a vibrant urban culture. In this three-lecture series in conjunction with the exhibition Hymn to Beauty: The Art of Utamaro (13 February - 2 May 2010), Professor William H Coaldrake introduces the high culture of the samurai, the popular culture of the townspeople and the influence of 19th-century Japan on the West.
Professor Coaldrake was born in Tokyo, in Tsukiji, the heartland of Old Edo, the son of Australian missionary parents. He has spent his life coming and going from the city of his birth. He received his doctorate and taught at Harvard University before becoming Foundation Professor of Japanese at the University of Melbourne, where he is now Professorial Fellow. He has been a Visiting Fellow at the University of Tokyo and at Oxford, and Reischauer Visiting Professor of Japanese Studies at Harvard in 2005-06. He is the author of two major books on Japanese architecture (The Way of the Carpenter: Tools and Japanese Architecture and Architecture and Authority in Japan) and is currently completing a third book on the arts of Japan from the dawn of antiquity to the present day for Phaidon Press in the UK.
24 March 2010
"Edo High Culture: Shogunal and Samurai Palaces"
The city of Edo, forerunner to modern Tokyo, was created by the Tokugawa shogunate as a metaphor of authority and as a mechanism of control over the regional lords or daimyo. The shogun’s castle and the palaces of the daimyo were the settings for the conduct of government and elaborate rituals. These were held in great audience chambers decorated with golden screen paintings and spectacular polychrome sculpture of mythological beasts and birds of paradise. But great ambitions led to even greater disasters and much of this city was consumed by fire in 1657.
31 March 2010
"Edo Popular Culture: Mass Consumption and Ukiyo-e Prints"
In the city rebuilt after the 1657 fire, the surviving symbols of shogunal and samurai high culture were wilfully appropriated by the townspeople. Elite architecture was parodied and high culture conventions in painting and materials popularised in the ukiyo-e or "pictures of the floating world." Woodblock prints became the art of mass consumption, depicting the daily life of the artisans and merchants and the women of the entertainment district.
7 April 2010
"Edo in the West: Icon of Exoticism, Forerunner of Modernity"
The art of Edo transcended the time and place of its creation to take the Western world by storm in the later 19th century, from Impressionist artists like Claude Monet and the glass sculptor Emile Gallé, to the broader public of Europe, America and Australia, who flocked to the great exhibitions at Paris and London, Philadelphia and Chicago, and Sydney and Melbourne. The particular aesthetic characteristics of Edo art challenged long-established Western conventions in pictorial representation and the use of colour, opening the way to abstraction and to modernism.
Craig Clunas (University of Oxford)
Chester Beatty Library
Dublin, Ireland
25 March 2010
[from CBL, 1/17/10]
In conjunction with the exhibition Telling Images of China: Narrative and Figure Paintings, 15th-20th Century, from the Shanghai Museum (12 February - 2 May 2010).
Robert S. Wicks (Miami University Art Museum)
Miami University Art Museum
Oxford, OH
25 March 2010
[from MUAM, 2/3/10]
The first American ship to enter Chinese waters was the Empress of China in 1784. Its voyage marked the beginnings of a growing American demand for Chinese products, from tea to textiles, to spices and silks and special-order porcelain. This China trade, in the hands of commercial partnerships headed by wealthy individuals, greatly impacted American taste and consumer culture in the early republic. This presentation examines the first five decades of Chinese ceramic production with designs commissioned by American buyers from 1785-1835.
Philadelphia, PA
25-28 March 2010
[from AAS, 2/6/10; panels relating to Chinese and Japanese visual and material culture listed below]
14. Streets of Sadness: Emotional Geographies and Histories of Urban Japan
Chair: Vera C. Mackie (University of Wollongong)
- Heather Bowen-Struyk (Loyola University Chicago) "Sunless Streets: The Geography of Labor (Activism) in the Proletarian Movement"
- Alisa Freedman (University of Oregon), "Street Kids: Japanese Popular Culture Fantasies of Homelessness"
- Vera C. Mackie, "Memories and Memorials of Protest in Central Tokyo"
- Mark Pendleton (University of Melbourne), "Subway to Street: Spaces of Trauma in Post-Aum Tokyo"
Discussant: Anne Allison (Duke University)
19. Continuity, Disruption, and Subjectivity in the Culture of Urban Change in Contemporary China
- Chang Tan (Harvey Mudd College), "When Simulacra Penetrates Reality: The Fantasy of Urban Space in Contemporary Chinese Art"
22. Rethinking Underground Ritual Sites in Tang-Song China
Chair: Yun-Chiahn C. Sena (University of Texas, Austin)
- Wei-Cheng Lin (University of North Carolina, Chapel Hill), "Getting Physical with the Dead: Buddhist Relic Depositories and Burial Practice during the Tang Dynasty"
- Yun-Chiahn C. Sena, "Appropriating Antiquity in Song Tombs and Caches"
- Dongfang Qi (Peking University), "Archaistic Elegance: Excavated Gold and Silver Objects in Song China"
Discussant: Francois Louis (Bard Graduate Center)
26. Individual Papers: Being Chinese
Chair: James H. Carter (Saint Josephs University)
- Wen-shuo Liao (Academia Historica), "Exhibiting Chineseness: The Taiwan Provincial Exposition 1948"
32. Illustrating Reception: Honglou meng, Genji monogatari, and Visual Culture
Chair: Sophie Volpp (University of California, Berkeley)
- Kimberly Besio (Colby College), "Baochai Chasing Butterflies: Visual Culture in Honglou Meng, Honglou Meng in Visual Culture"
- I-Hsien Wu (New School University), "Illustrating Honglou Meng: A History of Reception"
- Melissa McCormick (Harvard University), "Genji-e in the Age of Illustrated Fiction"
- Sarah E. Thompson (Museum of Fine Arts, Boston), "Poetry, Incense, Card Games, and Pictorial Narrative Coding in Early Modern Genji Pictures"
- Michael Emmerich (University of California, Santa Barbara), "Drawing on Genji: The Visual Reception of Nise Murasaki inaka Genji"
Discussant: Ellen Widmer (Wellesley College)
44. Women and Lay Buddhism in Japanese Rites and Art
Chair: Elizabeth Lillehoj (DePaul University)
- Karen M. Gerhart (University of Pittsburgh), "The Death and Funeral of an Imperial Consort"
- Elizabeth Lillehoj, "Yogen’in, a Temple Sponsored by Warrior and Noble Women"
- Patricia J. Fister (International Research Center for Japanese Studies), "The Multiple 'Lives' of Sanmi no Tsubone: Ashikaga Wife, Imperial Consort, Buddhist Lay Nun, and Patron"
Discussants: Janet Ikeda (Washington & Lee University); Lori Meeks (University of Southern California)
51. Exploring New Pilgrimages in China and Taiwan
- Donald John W. Hatfield (Berklee College of Music), "Incense as Ethical Substance: On the Material Culture of Taiwanese Pilgrimages"
52. Forgotten Arts of the Ming Dynasty
Chair: Aida Yuen Wong (Brandeis University)
- Klaas Ruitenbeek (Museum of Asian Art, Berlin), "Ming Dynasty Stone Sculpture"
- Cary Y. Liu (Princeton University), "The Ming Dynasty Tianyige Library Hall: The Building and Its Myth"
- Eileen H. Hsu (Independent Scholar), "Green, Amber, and Cream: The Ceramic Workshop of the Ming Dynasty"
- Aida Yuen Wong, "The Cultural Meaning of Kingfisher Blue in Ming Decorations"
Discussant: David A. Sensabaugh (Yale University)
57. Liao and Heian: Renegotiating the Northeast Asian Cultural Matrix
Chair: Mimi Yiengpruksawan (Yale University)
- Nancy S. Steinhardt (University of Pennsylvania), "Buddha Halls at Fengguosi and Joruriji: Shared Architecture or Shared Iconography"
- Mimi Yiengpruksawan (Yale University), "Building in the Key of Liao at Byodoin"
- "Concealed Origins: From Liao Pagodas to Heian Ritual"
- Jianwei Zhang (Southeast University), "Sanskrit Letters in Wall Paintings and Roof Tile Ends: Liao to Heian Japan"
Discussant: Eugene Y. Wang (Harvard University)
70. Japan’s France: Imagery of France in Japanese Painting and Fiction, 1900 to 1950
Chair: Doug Slaymaker (University of Kentucky)
- Doug Slaymaker, "The Flowers of Paris: The Paris of Fujita Tsuguharu and Kaneko Mitsuharu"
- Michael A. R. Lucken (INALCO), "French Art in Postcards: Kishida Ryûsei and Western-Style Painters in Taishô Japan"
- Bert Winther-Tamaki (University of California, Irvine), "The Dépaysement of Fukuzawa Ichirô"
- Cécile Sakai (Universite Paris Diderot), "The French Stream in the Japanese Detective Novel: Hisao Jûran’s The Black Notebook (1937) and His Translations of French Littérature Policière"
Discussant: Atsuko Sakaki (University of Toronto)
75. Jingdezhen’s China: New Approaches to the Material Culture of Ceramics
Chair: Anne T. Gerritsen (University of Warwick)
- Susan Naquin (Princeton University), "Putting Jingdezhen Porcelain in Its Domestic Context"
- Stephen McDowall (University of Warwick), "Jingdezhen Artisans and the Late-Ming Literary World"
- Ellen C. Huang (University of California, Berkeley), "The Shaping of Time: History and Art in The Jingdezhen Ceramics (1815)"
- Maris Gillette (Haverford College), "Porcelain and Value: Debates and Practices from Contemporary Jingdezhen"
Discussant: Robert M. Mintz (Walters Art Museum)
93. Japanese Visual and Material Culture in Transnational Contexts: Shifting Ideas of "China" in Edo and Meiji Japan
Sponsored by Japan Art History Forum
Chair: Keiko Suzuki (Ritsumeikan University)
- Ryoko Matsuba (Ritsumeikan University), "Reconstructing China on the Kabuki Stage"
- Keiko Suzuki, "Blurred Definitions of 'Tojin' and 'Tobutsu': Downplaying the Cultural Authority of 'Chinese People' and 'Chinese Goods' in Late Edo Japan"
- Shinya Maezaki (SOAS, University of London), "Copies or Inspired Originals? Production of Chinese-Style Porcelain in Meiji Japan"
- Princess Akiko of Mikasa (University of Oxford), "Defining the 'Chinese School': William Anderson’s Classification of Japanese Art"
Discussant: John T. Carpenter (SOAS, University of London)
96. Art History is Not a Dinner Party: Aesthetics and Artistic Practice in Late Imperial and 20th-Century China
A Panel in Honor of Professor Emerita Ellen Johnston Laing
Chair: Katharine Burnett (University of California, Davis)
- Robert E. Harrist, Jr. (Columbia University), "Recarving the Stone Drums in Qianlong’s Empire of Replication"
- Lisa Claypool (Reed College), "Painting Manuals and Gendered Modernity in 1920s Shanghai"
- Ralph Croizier (University of Victoria), "Hu Xian 'Peasant Painting' after Laing"
- Julia F. Andrews (Ohio State University), "Picturing Utopia: The Visual Iconography of Socialist Realism, 1949-1979"
Discussant: Jason Kuo (University of Maryland)
128. For Modernizations: Reconsidering the Post-Mao Moment in the Arts
- Yun Peng (University of Pittsburgh), "Uncanny Realism, or How to Read a Chinese Picture"
134. Filling in the Map: Processes of Exchange and the Production of Geographical Knowledge in East Asia and the Middle East
- Julia Orell (University of Chicago), "Modes of Representing the Yangzi River in 13th- and 14th-Century China"
- Kaveh Hemmat (University of Chicago), "China in the Imaginary Geography of the Post-Mongol Islamic World: “Chinese” Styles in Timurid Imperial Image-Making"
146. Upstaging Morality: Didacticism and 'Kabuki-esque' Theatricality in Edo Yomihon
Sponsored by the Early Modern Japan Network
- Dylan McGee (State University of New York, New Paltz), "Restaging the Cherry Blossom Princess in Print: Theatricality in Santo Kyoden’s Adaptation and Readaptation of the Sakurahime Narrative"
147. The Past and Future of Futuristic Japan
Chair: Shigeru (CJ) Suzuki (Lehigh University)
- William O. Gardner (Swarthmore College), "The 1970 Osaka Expo as Science Fiction City"
- Marie Thorsten (Doshisha University), "Sputnik Nostalgia Redux in America and Japan"
- Artur Lozano-Mendez (Autonomous University of Barcelona), "Changing Perceptions of Japanese Industrial and Technological Prowess in Techno-Orientalist Discourse"
- Dong-Yeon Koh (Korea National University of Arts), "Growing up with Astro Boy and Mazinger Z: Industrialization, Technophilia, and Japanese Manga and Animation in Korea"
- Shigeru (CJ) Suzuki, "A Post-Human Tribe: Komatsu Sakyo’s Japan Apache and the Japanoid Future"
Discussant: Christopher S. Goto-Jones (Leiden University)
151. Roundtable: Gender and Cultural Production: A New Approach to Chinese Women’s Journals in the Early 20th Century
Chair: Joan Judge (York University)
Discussants: Barbara Mittler (University of Heidelberg); Grace S. Fong (McGill University); Michel Hockx (SOAS, University of London)
160. China and Japan in War and Peace
- Charles Musgrove (St. Marys College of Maryland), "National Father and Pan-Asian Brother: The Sun Yatsen Mausoleum during the Japanese Occupation of Nanjing, 1937-1945"
172. Material Things: Objects in 1950s and 1960s Japanese Film and Fiction
Chair: Helen F. Weetman (University of Denver)
- Koji Toba (University of Tokushima), "Pavlov, Marx, and Surrealism: Abe Kobo’s Objects in His Metamorphosis Stories"
- Helen F. Weetman, "Animated Objects: Transforming the Material World in 1950s Fiction"
- Patrick A. Terry (University of Oregon), "Caramel Dreams, GDP Nightmares: Characters as Commodity in Masumura Yasuzo’s 'Giants and Toys'"
- Peter Tillack (Montana State University), "A 'Viewing Cure': Teshigahara Hiroshi’s 'Ruined Map"
Discussant: Stephen H. Dodd (SOAS, University of London)
173. Art and War in Twentieth-Century Japan and the Koreas
Chair: Sharalyn Orbaugh (University of British Columbia)
- Asato Ikeda (University of British Columbia), "Fascist National Erotics: Japanese-Style Paintings of the 1930s and 1940s"
- Nathen Clerici (University of British Columbia), "The Aikoku Hyakunin Isshu as Poetry of War: From Ancient Imperial Court Poetry to Poetry of the Modern Empire"
- Dafna Zur (University of British Columbia), "War and Art: The Korean War in North and South Korean’s Illustrated Children’s Books"
Discussants: Janet Poole (University of Toronto); Hong Kal (York University)
187. Buddhist Art and Its Functions for Temples, Local Communities, and the State
- Jessica L. Patterson (Reed College), "Battles or Brotherhood? Romance of the Three Kingdoms in Thai Temple Murals"
204. Desire and Anxiety: The Portrayal of Women in Chinese Literature and Culture
- Sheri A. Lullo (University of Pittsburgh), "Allure beyond the Grave: Beauty and Death in Early China"
205. From Old Mission to New Enterprise: Cultural and Religious Positioning of Christian Missionaries in China
- Hui-hung Chen (National Taiwan University), "Aristotelianism in the Visual Discourse of the Seventeenth-Century Jesuit China Missions"
227. Reading Between the Fine Lines: Non-Visual Meaning in Song and Ming Paintings
A Panel in Honor of Professor Emerita Ellen Johnston Laing
Chair: Susan N. Erickson (University of Michigan, Dearborn)
- Maggie Bickford (Brown University), "Agency under the Skin: Song Bird and Flower Painting Revisited"
- Alfreda Murck (Palace Museum, Beijing), "Cui Bo’s 'Magpies and Hare': A Contextual Reading"
- Ann Wetherell (University of Oregon), "Claiming Virtue: Filial Themes in Bird Paintings by Shen Zhou (1427-1509)"
- Ina Asim (University of Oregon), "Prosperous Secondary Capital: A Cityscape Scroll of Ming Nanjing"
Discussant: Julia K. Murray (University of Wisconsin, Madison)
236. Picturing the Foreign: Images of East and West in Visual and Literary Culture from 1400 to Present
- Monika Lehner (University of Vienna), "Sharing Knowledge about the Unknown: Visual Representations of China in German and Dutch Pre-1800 Accounts"
- Kristina Kleutghen (Harvard University), "Painted Europe: Image and Imagination in Qing Paintings of the West"
247. Rethinking "Influences" of Modern Art in Korea: Beyond Colonial Discourses
- Moojeong Chung (Duksung Womens University), "Korean Informel and the 'Informel Cyclone' in Japan"
249. Naming Places/Placing Names: A Genealogy of Meisho in Japanese History (1500-1955)
Chair: Samuel C. Morse (Amherst College)
- Misato Ido (Harvard-Yenching Institute), "Illuminating the Outskirts: The Landscape of Rakugai in the 16th and 17th Centuries"
- Nobuko Toyosawa (University of Southern California), "Topographic Writings of 17th Century Japan and East Asia: A New Approach to Kaibara Ekiken’s Keijo shoran"
- Robert D. Goree (Yale University), "Meisho as Poetry and Image in Late Edo Period Illustrated Gazetteers"
- Gyewon Kim (McGill University), "Tracing the Emperor: Photography, Imperial Inspection Tours, and the Creation of Sacred Places, 1872-1932"
- Hyunjung Cho (University of Southern California), "Hiroshima as Contemporary Meisho: Tange Kenzo’s Peace Memorial Park and Shirai Seiichi’s Atomic Bomb Temple"
Discussant: Samuel C. Morse
253. Speaking of Sex: Issues of Sexuality in Intellectual Debate, Government Regulations, and Popular Storytelling from Song to Contemporary China
- Hsiao-wen Cheng (University of Washington), "Encountering the Sexy Supernatural: Sexuality, Storytelling, and Visual Culture in Song China"
259. Lieux de Mémoire in Asian Art
- Kristen E. Loring (University of California, Los Angeles), "Revisiting Sites, Localizing Memory: Hua Yan’s (1682-1756) Landscape Paintings"
- Jie Shi (University of Chicago), "Crossing the Transitional Realm: Image, Ritual, and Memory in Early Chinese Funerary Shrines"
- Paula L. Rose (University of Kansas), "Images of the Mushroom Cloud in the Work of Takashi Murakami"
263. Experiencing the Illustrated Book in East Asia
Chair: Miriam Wattles (University of California, Santa Barbara)
- Jenny L. Preston (SOAS, University of London), "Viewing and Re-Viewing 18th-Century Erotica: Nishikawa’s Inkwell, a Case Study"
- J. P. Park (University of Colorado, Boulder), "The Broken Link: Chinese Painting Albums and Manuals in Late Choson Korea (1700-1850)"
- Roberta Wue (University of California, Irvine), "Renzhai’s Painting Legacy, 1876: The Book as Artist in Shanghai"
Discussants: Anne Burkus-Chasson (University of Illinois, Urbana- Champaign); Miriam Wattles
272. Negotiating Censorship in Modern Japan
- Yayoi Shionoiri (Columbia University), "'Art' Il-Legally Defined? A Legal and Art Historical Analysis of Akasegawa Genpei's Model 1,000-Yen Note Incident"
275. Perspectives on Contemporary Spirit-Money Offering Rituals
Chair: Elana Chipman (State University of New York, Binghamton)
- Russell Belk (York University) and Xin Zhao (University of Hawaii), "Consumer Culture in Chinese Death Ritual Consumption"
- Janet Lee Scott (Harvard University), "Paper Offerings for the Worship of Tin Hau"
- Julie Y. Chu (University of Chicago), "Money to Burn: Dollars, Debt, and the Im/materiality of Value in Fuzhou, China"
- Heonik Kwon (London School of Economics), "The Ethics of Asian Spirit Money"
- Elana Chipman, "Ritual Sacrifices and Changing Environmental Consciousness in Taiwan"
Terese Bartholomew
Phoenix Art Museum
Phoenix, AZ
31 March 2010
[from PAM, 2/3/10]
Terese Bartholomew, curator emerita, Asian Art Museum of San Francisco, gives a short history of Yixing ware from the 16th through the 20th centuries. Hear more about the four major styles of teapots and how contemporary potters express themselves in the four traditional styles. Join us for a reception after the talk.
Toshio Watanabe (University of the Arts London Chelsea)
Spencer Museum of Art
University of Kansas
Lawrence, KS
1 April 2010
[from KU, 12/5/09]
Sponsored by Kress Foundation Department of Art History and Spencer Museum of Art / Watanabe is professor and Director of the Research Centre for Transnational Art, Identity and Nation, University of the Arts, London. This talk will investigate perhaps the most famous or rather the most infamous case of censoring a nude painting during the Meiji period (1868-1912) in Japan. This is the so-called Nude Painting Controversy of whether one should censor a nude painting or not that was hotly debated. This case represents a seminal moment in the development of modern Japanese painting and also shows the complex nature of the impact of European ideas on Japanese culture. First, the story of the controversy surrounding Kuroda Seiki’s nude paintings will be sketched, then the development of the ideology of and the practice of law enforcement in the Meiji period will be discussed, and finally the context of the debate within Meiji art will be examined. Reception follows.
University of Michigan Museum of Art
Ann Arbor, MI
2-3 April 2010
[courtesy of J. Kee, 1/27/10]
In conjunction with the exhibition Art, Anti-Art, Non-Art: Experimentations in the Public Sphere in Postwar Japan 1950-1970 (27 March - 6 June 2010) , UMMA will present a two-day international symposium and performance considering experimental art of 1960s Japan in a broader cultural and geographical context. The symposium begins with a keynote lecture delivered by Reiko Tomii, an independent scholar and leading authority on postwar Japanese art, followed by a special performance by Ei Arakawa, a New York-based artist (renowned for his inter-subjective group performances), who will reinterpret the legacy of the Japanese avant-garde.
The second day of the symposium features papers by an international host of speakers, including Hiroko Ikegami (Osaka University, Japan), Ryan Holmberg (University of Southern California), Jonathan Hall (Pomona College and Meiji Gakuin University), and Midori Yoshimoto (New Jersey City University).
Generously funded by the Center for Japanese Studies and the Department of History of Art, this event is co-organized with University of Michigan Museum of Art and Department of History of Art, in association with PoNJA-GenKon, a listserv group dedicated to contemporary Japanese art.
All events are free and open to the public. Information: (734) 763-UMMA.
Toshio Watanabe (University of the Arts London Chelsea)
Nelson-Atkins Museum of Art
Kansas City, MO
8 April 2010
[from KU, 2/3/10]
Watanabe is professor and Director of the Research Centre for Transnational Art, Identity and Nation, University of the Arts, London. Modern Japanese gardens provide a multifaceted, complex and fascinating subject. This talk will not so much give a survey of the modern Japanese garden but rather investigate how the meaning and significance of such a garden could change with time and with different observers. The timeframe will be between 1870s and 1970s and different types of Japanese gardens will be explored. Examples will include public parks, Japanese gardens at International Exhibitions, Japanese gardens during World War II and Modernist gardens. Japanese gardens are often seen as quintessentially and uniquely Japanese, more or less the prime example of what Japanese culture is about. However, this talk will put them into a transnational context and show how modern Japanese gardens connect with Asia, Europe and the USA.
Sponsored by Kress Foundation Department of Art History and Spencer Museum of Art, University of Kansas.
Ellis Tinios (University of Leeds)
Ashmolean Museum
Oxford, UK
10 April 2010
[from Ashmolean, 1/17/10]
The illustrated woodblock printed books produced in Japan in the Edo period (1615-1868) represent a remarkable achievement in terms of their technical perfection, varied subject matter and their beauty. No comparable sustained tradition of artistically significant printed illustrated books existed in China or the West. Dr Ellis Tinios explore the major genres of Edo illustrated books, and the means by which they were produced, financed and distributed. The lecture will be followed by a look at some of the Japanese books in the Ashmolean collection.
Huang Wei (Jingdezhen Ceramic Institute)
Society of Antiquaries
London, UK
13 April 2010
[from OCS Spring 2010 Programme, 1/20/10]
The Transitional Period was a critical time in the history of ceramic development in Jingdezhen. These ceramics have been studied in detail by Western scholars, but they did not have available to them the recent archaeological discoveries that have been made in Jingdezhen, the place where all these wares were fired. This lecture is an attempt to fill the gap. For the past five years, our lecturer has been stationed in Jingdezhen, directly involved in all the archaeological investigations and excavations. Previously, it had been suggested that the Guangyinge site, on the fringe of Jingdezhen, was the production centre for Transitional pieces. Recent investigations, however, have proven that the centre of production was in fact in downtown Jingdezhen, in the area near Shibaqiao. In both quality and quantity the production there far surpassed that of Guangyinge. This lecture will introduce these Transitional kiln sites in Jingdezhen and will be illustrated by shards collected and excavated from these sites. An attempt will also be made to classify these shards into major categories and archaeological typography. Through these new findings, the lecture will illustrate the major and important marks like "Zhonghetang" (Zhonghe Hall mark), Wanzhushanfang (Ten Thousand Bamboo Studio mark), etc., and the special decoration techniques and styles, giving an archaeological and art review of the Transitional Period ceramics.
Huang Wei (May Huang) is an art historian and Chinese ceramic archaeologist from Jingdezhen and is currently a lecturer at the Jingdezhen Ceramic Institute, teaching the history of Chinese ceramics and world ceramic history. She obtained her first degree in history at Anhui University, and her Masters degree in Chinese ceramic archaeology at Peking University. She has carried out extensive and pioneering archaeological research into the export ceramics of the Ming Dynasty on Shangchuan Island in Guangdong Province. (Shangchuan Island, better known to the West as St. John Island, was where St. Francis Xavier, the first Ming catholic missionary to come to China, was buried.) The ceramics found were contemporary with Francis Xavier and relate to the first commercial export of ceramics to Europe. This work was written up and published in Wenwu in May 2007. Huang Wei has been involved in other ceramic archaeological field work in many parts of China, including important sites in Jingdezhen. She has a special interest in seventeenth-century Chinese ceramics and has lectured recently on the subject to the Hong Kong branch of the Oriental Ceramic Society and has written a paper on Chinese wares exported to Japan, to be published in April this year.
Matthew McKelway (Columbia University)
Princeton University
Princeton, NJ
13 April 2010
[courtesy of Tang Center, 2/2/10]
Christopher M. S. Johns (Vanderbilt University)
Spencer Museum of Art
University of Kansas
Lawrence, KS
15 April 2010
[from KU, 12/5/09]
Japan Society
New York, NY
17 April 2010
[from Japan Society, 2/3/10]
This half-day symposium brings together Kuniyoshi exhibition curator Timothy Clark of the British Museum, Dr. Sarah Thompson, Curator of Japanese Prints at The Museum of Fine Arts Boston and Edward Kamens, Sumitomo Professor of Japanese Studies, Dept. of East Asian Languages and Literatures, Yale University, to discuss and contextualize Kuniyoshi’s work within historical and art historical frameworks.
Moderated by Joe Earle, Vice President & Director, Japan Society Gallery.
Metropolitan Museum of Art
New York, NY
18 April 2010
[from MMA, 2/3/10]
Learn how the exacting eye of eccentric collector Harry Packard formed the foundation of the Japanese art collection at the Met. This Sunday at the Met is held in conjunction with the exhibition Five Thousand Years of Japanese Art: Treasures from the Packard Collection (17 December 2009 - 6 June 2010).
- Julia Meech (independent scholar), "Who Was Harry Packard?"
- Louise Cort (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution), "Harry Packard's Japanese Pots"
- Sadako Ohki (Yale University Art Gallery), "Layered Meanings: Rai San'yo's Poem about Gion Nankai's Ink Bamboo on Robe"
- Matthew P. McKelway (Columbia University), "Kano Sansetsu's Strange Trees: Eccentricity or Enlightenment?"
Christopher M. S. Johns (Vanderbilt University)
Nelson-Atkins Museum of Art
Kansas City, MO
18 April 2010
[from KU, 2/3/10]
John and Berthe Ford Annual Lectureship in Asian Art
Jerome Silbergeld (Princeton University)
Walters Art Museum
Baltimore, MD
18 April 2010
[from Walters, 2/3/10]
Chinese cinema rose to international prominence in the 1990s, its avant-garde painting and photography after 2000, and now Chinese documentary photography is arriving on the scene. Documentary photography is an old medium in China, yet Chinese photographers' view of their own land and people is new. At issue is continuing government censorship, how to best read these images in a cross-cultural setting, and what "documentar"” means in an artistic context. This talk is based on the first exhibition of this photographic art, as organized by Jerome Silbergeld.
This lecture is presented by Jerome Silbergeld, Professor of Chinese Art History and Director, P.Y. and Kinmay W. Tang Center for East Asian Art; Department of Art and Archaeology, Princeton University.
Gennifer Weisenfeld (Duke University)
Bard Graduate Center
New York, NY
21 April 2010
[from BGC, 12/2/09]
There is no Japanese company whose advertising design better represents the aesthetic of cosmopolitan chic seen throughout the visual sphere in the early twentieth-century than Shiseido. The Shiseido cosmetics company opened its western-style pharmaceutical business in the Ginza in Tokyo in 1872 and a few decades later, under the banner of its stylish camellia logo and signature designs, emerged as one of the leading cosmetics manufacturers in Japan, a position it still holds over a century later. This paper will explore how the company creatively produced and conveyed meaning through the visual and material aspects of its marketing strategy in the prewar period. It is my contention that Shiseido’s commercial success was due to the company’s uncanny ability to merge images of a transhistorical, cosmopolitan, largely deracinated fantasy lifestyle with rationalized notions of the scientification of beauty.
RSVP required to (212) 501-3019, <academic-events@bgc.bard.edu>. For additional information, contact Alex Phelan.
Bibliothèque nationale de France (site François-Mitterrand)
Paris, France
22 April 2010
[from BnF, 1/17/10]
Chen Jiang Hong est né en 1963 en Chine. Peintre et illustrateur, il a été formé aux Beaux-Arts de Pékin. Il vit et travaille à Paris depuis 1987. Son œuvre est exposée en France et à l'étranger. Pour certaines de ses illustrations, il utilise une technique traditionnelle à l'encre de Chine, sur papier de riz. Il en résulte de somptueux albums d'un grand raffinement, aux teintes subtiles, une véritable invitation au voyage ou à la rêverie, tout simplement. Il a également illustré plusieurs recueils de contes traditionnels de différents pays.
Lucy Arai (artist)
Cantor Arts Center
Stanford University
Palo Alto, CA
22 April 2010
[from CAC, 1/24/10]
Lucy Arai is a creative artist as well as a museum education and public program consultant. She is a participant in the U.S. Department of State Arts in Embassies Program, a nominee for the 2005 Louis Comfort Tiffany Foundation Biennial Award, and a San Francisco Asian Art Museum "AsiaAlive" artist. Her work is collected and exhibited internationally.
Through the cyclical process of playful experimentation and disciplined practice Lucy Arai develops her fusion art. She creates new applications for Japanese techniques, such as sashiko embroidery and handmade sculpted papers, which she transforms with ink and watercolors into wall hangings.
Arai will share images and hands-on objects to highlight the story of how her art started as a mother-daughter/master-apprentice relationship which led to communicating with her Japanese uncle without speaking a common language. It is now her medium of expression for those things beyond words.
University of Warwick
Warwick, UK
22-24 April 2010
[from Global Jingdezhen, 9/19/09]
An International Conference Hosted by the Department of History, University of Warwick
This international conference to be held at the University of Warwick will bring together experts in a wide range of disciplines and geographical areas to explore the cultural and intellectual dimensions of the movement of ceramics in the early modern world. How exactly did Chinese ceramics filter into different societies to become part of everyday lives across the globe, and why were some places resistant to their impact? Did a potter in Europe, South America or the Middle East attempting to incorporate Chinese styles into local manufacture consider their place of origin? What effects did ceramics have on the nature of global connections, and who were the brokers and dealers involved in these processes? This conference will provide an opportunity to move beyond object-based analyses and reflect on such questions in light of recent developments in the field of global history.
Provisional List of Conference Participants
- Teresa CANEPA (Jorge Welsh, UK; Universiteit Leiden), "Kraak Porcelain for the Portuguese and Spanish Markets"
- CAO Jianwen and QIU Xinqian (Jingdezhen Ceramics Institute), "The Globalization of Jingdezhen Porcelain in the 16th and 17th Century Through Kraak Porcelain"
- Anne GERRITSEN and Stephen McDOWALL (University of Warwick), Title to be confirmed
- Ellen HUANG (University of California, Berkeley), "Variations on a Theme of Taoye tu: Picturing Jingdezhen Porcelain Production"
- Yuka KADOI (Art Institute of Chicago), "The Chini-Khaneh: Reception and Appreciation of Chinese Ceramics in Iran, 1300-1800"
- Dana LEIBSOHN (Smith College), "Colonial Mimicry, Chinoiserie and Loza Fina: Making Sense of China in Mexico"
- Baoping LI (University of Queensland), "Chinese Ceramics in Angkor: The Possibility and Significance of a Cross-Disciplinary Approach"
- LIU Zhaohui (Fudan University), "Ko-sometsuke and Shonzui: Japanese Taste in the Late Ming Jingdezhen Porcelain"
- Etsuko MIYATA (Universitat Pompeu Fabra), "Jingdezhen Porcelain Distribution in the Iberian Peninsula"
- Stacey PIERSON (SOAS, University of London), "The Westward Movement of Chinese Ceramics: Reconsidering the Appropriative Process"
- David PORTER (University of Michigan), Title to be confirmed
- Bruce RUSK (Cornell University), "Ceramics in Chinese Translation: Forging Bronzes on a Jingdezhen Model"
- SHIH Ching-fei (National Palace Museum), "The Multiple Markets for Jingdezhen Blue-and-White Porcelains During the Mongol Yuan Period"
- Eva STRÖBER (Keramiekmuseum Princessehof), "Large Dishes from Jingdezhen and Longquan Around the World"
- WANG Su-chin (National Taiwan University), "The Hybrid Style of Ordered Trade Porcelain: The 'Islamic' Style of the Kraak Type Blue-and-White Porcelain"
- ZHAO Bing (Centre national de la recherche scientifique), "The Chinese Ceramics Recently Found from the Islands of Songjé ya Kati and Songo Mnara at Kilwa in Tanzania"
Shigeru Ban (architect)
Museum of Fine Arts, Boston
28 April 2010
[from MFA, 1/17/10]
Japan's visionary architect Shigeru Ban created a series of public buildings and private houses that are innovative in both design and materials. Ban is known as "the paper architect" for using industrial cardboard tubing to construct dramatic structures for public spaces, elegant pavilions, and temporary housing for refugees and victims of natural disasters. Ban speaks with insight, social consciousness, and humor about his revolutionary buildings and unique career.
Kanji Ishizumi (Ishizumi & Co)
Ashmolean Museum
Oxford, UK
29 April 2010
[from Ashmolean, 1/17/10]
In this lecture Mr Kanji Ishizumi, 5th generation of renowned art fan maker in Kyoto Ishizumi & Co will explore the history, and aesthetic value of Japanese fans. He will explain the process and craftsmanship of fan making which is passed down through generations.
Chester Beatty Library
Dublin, Ireland
30 April - 1 May 2010
[courtesy of S. McCausland, 11/20/09]
A scholarly conference [in conjunction with the upcoming exhibition Telling Images of China: Narrative and Figure Paintings, 15th-20th Century, from the Shanghai Museum (12 February - 2 May 2010)] will be launched with a keynote address by Ellen J Laing. The provisional list of speakers and discussants includes: Noelle Giuffrida, Ginger Hsu, Lai Yu-chih, Cédric Laurent, Eric Lefebvre, Ling Lizhong, Shane McCausland, Matthew P. McKelway, Julia K. Murray, Nick Pearce, Clarissa von Spee, Jan Stuart, Elizabeth M Owen, Roberta Wue, Yang Chia-ling and Zhang Hongxing. (This listing is subject to change without notice.)
Mounted at the Chester Beatty Library from 12th February to 2nd May 2010, Telling Images of China is an exhibition of 38 paintings loaned by the Shanghai Museum. This show explores how Chinese narrative and figural works, dubbed "story paintings," retell or illustrate a variety of tales from folk and religious lore, oral and textual history, poetry and prose literature. The exhibition’s themes include: "Stories of Crossings: Exiles, Loyalists, Rustics"; "Religious Lore and Legends of the Supernatural"; "Some Models of Conduct and Culture"; and "Romances and Tales of Talent and Beauty."
The exhibits, selected for their visual interest and thematic relevance, comprise paintings by both celebrated and obscure artists of the Ming (1368-1644) and Qing (1644-1911) dynasties and the twentieth century. Some of these artworks belong in the Shanghai Museum's highest classification of value, while the recognised masters include Guo Xu, You Qiu, Li Shida, Ding Yunpeng, Cui Zizhong, Chen Hongshou, Shitao, Hua Yan, Ding Guanpeng, Huang Shen, Ren Bonian and Qi Baishi. As the city of Shanghai prepares to host the World Expo in summer 2010, the Chester Beatty Library is pleased to have on display this fine selection of "story paintings" from the Shanghai Museum.
Shelagh Vainker (Ashmolean Museum)
Society of Antiquaries
London, UK
11 May 2010
[from OCS Spring 2010 Programme, 1/20/10]
The high status of Northern Song ceramics is largely retrospective: during the dynasty itself, huge quantities were produced but few were collected or written about. How, then, do we understand how they were regarded, or what social functions they may have served? How were they used, and how were they experienced? This lecture will look at ceramics in various Northern Song contexts, and particularly at tombs, in order to establish firstly who owned or used which types of ceramics, and then to consider what significance the pieces might have held for different individuals. The importance of place of burial of particular wares will also be explored.
Shelagh Vainker is Curator of Chinese Art at the Ashmolean in Oxford, and University Lecturer in Chinese Art. She was previously curator of Chinese ceramics at the British Museum. In addition to catalogues and related articles on the Ashmolean’s collection of modern Chinese paintings, she has worked extensively on the Northern Song period, publishing on ceramics particularly and also on Northern Song silk, silver, lacquer and gold. Shelagh has been President of the Oriental Ceramic Society since June 2009.
III Simposio Internacional: "Iconografía y Forma"
Universitat Jaume I
Castellón, Spain
12-14 May 2010
[from H-ARTHIST, 10/11/09; papers/panels relating to China/Japan listed below]
Panel 3: Visiones del Pacífico
- Inmaculada Rodríguez, Víctor Mínguez (Universitat Jaume I), "Imágenes de Cipango. Recepción, circulación e integración del arte japonés
en el mundo hispánico [Images of Cipango: reception, circulation and integration of Japanese art in the Hispanic world]"
Contact:
Departamento de Historia, Geografía y Arte
Universitat Jaume I
Campus de Riu Sec
Avda. Sos Baynat, sn
Castellón 12071
tel 964-729686 / 729652
fax 964-729265
e-mail <chivaj@his.uji.es>
Kazuo Kuwabara (collector and independent scholar)
San Diego Museum of Art
27 May 2010
[from SDMA, 2/4/10]
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