The
World-Wide Web Virtual Library [Alphabetical || Category Subtree || WWW VL database]
Arts of
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Listings below are organized chronologically.
Fowler Museum
University of California, Los Angeles
[from H-ASIA, 8/2/09]
Lecture series in conjunction with the exhibition Steeped in History: The Art of Tea (16 August - 29 November 2009):
12 September
Curator Lecture: "Steeped in History: The Art of Tea"
Beatrice Hohenegger (exhibition curator and author of Liquid Jade: The Story of Tea from East to West)24 October
"Tea and Chinese Cultural Aesthetics"
Pei-kai Cheng (Chinese Civilisation Centre, City University of Hong Kong)7 November
22nd Annual Sammy Yukuan Lee Lecture on Chinese Archaeology and Art
"The Buddhist Arts of Tea in Medieval China"
James A. Benn (McMaster University)22 November
"Tea of the Samurai in Times of War and Peace"
Morgan Pitelka (Occidental College)
For more information please call (310) 825-4572.
Art History Institute Colloquium
University of Zürich
Switzerland
[from H-ARTHIST, 9/17/09]
17 September
Judith Fröhlich (University of Zürich), "The Perception of the Outside World in Nineteenth-Century Japan: The Mongol Invasions as a Metaphor for Foreigners"1 October
Simone Griessmayer (University of Zürich), "Spreading the Word with Ink and Brush: Chinese Christian Images"15 October
Nancy Lin (University of Chicago), "Strategies of Display: Siegfried Bing's Promotion of Japanese Art Objects"26 October
Gregory Levine (University of California, Berkeley), "Malraux's Buddha Heads: Fragments of the Past and the Sculptural 'Gothic-Buddhist'"29 October
Johannes Beltz (Museum Rietberg), "Visions of India"12 November
Princess Akiko of Japan (University of Oxford; Ritsumeikan University), "Japanese Art in Transition: The William Anderson Collection of Japanese Paintings at the British Museum"26 November
Annamaria Matter (Amt für Raumordnung und Vermessung, Kantonsarchäologie), "Von Osten nach Westen: Ostasiatisches Exportporzellan und europäisches Porzellan aus archäologischen Grabungen und Sammlungen (From east to west: East Asian export porcelain and European porcelain from archaeological excavations and collections)"10 December
Annemarie Jordan Gschwend (Museum Rietberg), "Diplomacy, Luxury Goods and Ivory: The Kingdom of Kotte (Ceylon) and Portugal in the Renaissance"
For questions, please contact Professor Hans Bjarne Thomsen.
Santa Barbara Museum of Art
Santa Barbara, CA
19 September - 13 December 2009
[from Santa Barbara Museum of Art, 9/6/09]
27 September
Lothar von Falkenhausen (University of California, Los Angeles), "Mawangdui and Its Place in the History of Chinese Funerary Customs"
The rich finds from the Mawangdui tombs document local religious conceptions concerning death and the afterlife during the early Han period. This lecture will show how various customs attested at Mawangdui had developed and will draw contrasts to contemporaneous practices in other parts of China.
4 October
Peter Sturman (University of California, Santa Barbara), "Roaming in the Celestial Realm: Immortality and the Imagination in Han Dynasty China"
The motifs decorating Han dynasty mortuary objects, including those found in the tomb of the noblewoman at Mawangdui, illustrate long-standing religious notions of what happens after death. This lecture will explore many of the exquisite objects found in Western Han tombs that demonstrate the artistic imagination that accompanied the speculative flights of Han dynasty belief.
18 October
Ron Egan (University of California, Santa Barbara), "Rethinking Early China in Light of the Mawangdui Finds"
Many of the archaeological discoveries at Mawangdui have great artistic merit and aesthetic appeal, but also suggest that certain of assumptions about early China are seriously flawed. This lecture looks at the ways that the Mawangdui finds challenge us to rethink our understanding of early China.
15 November
Anthony Barbieri-Low (University of California, Santa Barbara), "Artisans of Ancient China"
This lecture focuses on the oft forgotten individuals who crafted objects in private workshops and government factories during the Han Dynasty of China (202 BCE – 220 CE). Among the topics to be discussed are artisan training, societal perception, tools and techniques, and marketing.
Tokyo National Museum
Part 1: 6 October - 3 November 2009
Part 2: 12-29 November 2009
[from TNM, 9/6/09]
Two commermorative lectures will be held in relation to the special exhibition Treasures of the Imperial Collections - Splendor of Japanese Art, celebrating the Emperor's 20th anniversary accession to the throne.
10 October
Ohta Aya (The Museum of the Imperial Collections, Sannomaru Shozokan), ""The Imperial Collections in the Heisei Period: A Focus on Conservation"
15 November
Sugimoto Kazuki (Office of The Shosoin Treasure House, Imperial Household Agency), "Treasures from the Shosoin Repository: Historical Value"
Hong Kong Museum of Art
25 September - 22 November 2009
[from HKMA, 11/15/09]
10 October
Szeto Yuen Kit (Hong Kong Museum of Art), "From the Scenic Spots of West Lake to Wang Yuanqi's Ten Views of West Lake" (in Cantonese)
17 October
Wong Pui Yin, Marianne (City University of Hong Kong), Fung Chi Wang (City Univerisity of Hong Kong) and student representatives of CCIV0303 (Summer Chinese Cultural Field Study Programme, City University of Hong Kong), "Experience Suzhou-from Field Study to Cultural Cognition" (in Cantonese)
24 October
Ma Ya-chen (Tsing Hua University, Taiwan), "Two Sides of the Same Coin: Qianlong Emperor and Suzhou Society Reconciled in Burgeoning Life in a Resplendent Age" (in putonghua)
31 October
Raymond Tang (Hong Kong Museum of Art), "A Resplendent Age Rediscovered through Prosperous Suzhou" (in Cantonese)
Portland Art Museum
10 October - 17 January 2010
[from PAM, 11/15/09]
11 October
Beth McKillop (Victoria and Albert Museum), "China Design Now: Creativity in the Era of Globalization"
Join Beth McKillop, director of collections and keeper of the Asian Department at the Victoria and Albert Museum in London, as she discusses the changing economic and cultural contexts that have fueled an explosion of creativity in Chinese graphic design, fashion, and architecture in Shenzhen, Shanghai, and Beijing.
29 October
Yung Ho Chang (Atelier FCJZ; Massachusetts Institute of Technology), "China Architecture Now"
Join Yung Ho Chang—one of the world’s most innovative and influential Chinese architects—for an inspired discussion about the how the rapid changes in contemporary China’s economy, mobility and consumerism are profoundly affecting architectural practice in the country. Born in Beijing, Yung studied environmental design and architecture in the United States. After earning an M. Arch. degree from UC Berkeley, he returned to Beijing to co-found the country’s first independent architecture firm in 1993. Atelier FCJZ (short for Feichang Jianzhu) translates to "unusual architecture." The firm works agilely amongst projects that include private homes, factories, museums, and government buildings, as well as installations, experimental furniture, and graphic design. Their work is known for combining traditional Chinese forms and materials with contemporary global practice. From 2002-03, Yung held the Kenzo Tange Chair at Harvard University's Graduate School of Design. Currently, he is head of the Massachusetts Institute of Technology Department of Architectural Design, and maintains his architectural practice in Beijing.
7 November
Freeman Lau Siu Hong (Kan and Lau Design Consultants), "A Conversation with Freeman Lau"
Founding partner of Kan and Lau Design Consultants, Freeman Lau Siu Hong is an internationally renowned sculptor and graphic and industrial designer based in Hong Kong. Join Lau and Carl Alviani, an industrial designer and editor of the influential design blog Core77, for a discussion about graphic design, typography, and advertising in China today, with a focus on trends from the city of Shenzhen.
11 November
Xu Bing (Central Academy of Fine Arts), "The Art of Xu Bing: 30 Years of Chinese Contemporary Art"
In conjunction with the China Design Now exhibition, the Portland Art Museum is honored to welcome Xu Bing, one of China’s most renowned artists and a leading figure in the contemporary art world. The Portland audience will have the rare opportunity to hear this prolific artist speak about his work—including his most recent Forest Project as well as The Tobacco Project, A Case Study of Transference, and Landscript Series—framed in the context of China’s artistic evolution. In 1999, Xu Bing was named a prestigious MacArthur Fellow in recognition of his "capacity to contribute importantly to society, particularly in printmaking and calligraphy." Ranging from monumental installations to handcrafted books, Xu’s artistic practice is a playful and political exploration of the written word, usually in the form of the Chinese character. His work questions our ability to communicate meaning through language, as well as the value of language itself.
University Museum and Art Gallery
University of Hong Kong
[from UMAG, 9/6/09]
Lecture series for the exhibition The Fame of Flame: Imperial Wares of the Late Ming Period (14 October 2009 - 28 February 2010).
17 October
Michael L. Yuen (Chinese art collector), "Prudence, Passion and Pleasure" (in Cantonese)
24 October
Yeung Chun-tong (Museum Director), "The Handicrafts of the Ming Dynasty" (in Cantonese)
31 October
Yeung Chun-tong, "Designs and Colours of Ming Porcelain" (in Cantonese)
Kyoto National Museum
10 October - 30 November 2009
[from KNM, 9/6/09]
17 October
Takashi NAKAO (Rissho University), "The Beginnings of the Nichiren Lotus Sect in Kyoto"31 October
Masayoshi KAWAUCHI (Nara University), "The Tenbun Lotus Uprising and Kyoto in the Warring States Period"7 November
Yoshihiro ONO (Kyoto National Museum), "The Nichiren Lotus Sect and Ceramics: Examining the Works of Raku, Koetsu, and Kenzan"21 November
Yoshitoyo OHARA (Kyoto National Museum), "Interpreting the Art of the Nichiren Lotus Sect"
All lectures to be held at Kyoto Women's College (5th floor of Building J) from 1:30 p.m.
Mobile, AL
21-24 October 2009
[from SECAC, 9/12/09; papers/panels relating to China and Japan listed below]
Eclecticism, Appropriation, Forgery, Part II
- Till Richter (University of Texas at Austin), "Borrowing and Eclecticism as Strategies in Contemporary Chinese Art"
Doorways, Thresholds, Gateways: Discourses on Liminality
- Daniel L. Weber (University of Florida), "Of Ersatz Entrances and Daxian Doors: The 'Fatal Door' in Ancient Chinese and Etruscan Tombs"
- Julie Rogers Varland (Savannah College of Art and Design), "Engawa and More: Japanese Concepts and Architectural Behaviors of Liminal Spaces"
Allen Hockley (Dartmouth College)
University of Michigan
22 October 2009
[from CJS, 9/16/09]
Produced in large quantities and presented in a variety of formats, early Japanese tourist photographs were highly mobile commodities that traveled among a diverse array of viewer constituencies. Every transaction in this economy—from production, through sale and distribution, to viewing—provided an opportunity to ascribe meaning to photographic images. This lecture explores how tourist photographs constructed an image of Japan skewed for foreign consumption.
Allen Hockley received his PhD in East Asian Studies from the University of Toronto in 1995 and is currently an Associate Professor in the Department of Art History at Dartmouth College. Dr. Hockley's primary research interests include Japanese prints and early Japanese photography.
St. Louis Museum of Art
[from SLAM, 9/6/09]
22 October
Janice Katz (Art Institute of Chicago), "Hidden Behind History: Revealing Moments in the Evolution of Japanese Folding Screens"
For centuries, the folding screen has been appreciated in Japan as both an architectural feature and a painting format with beautifully decorated surfaces that can connote status, good taste, and Japan itself. Join Janice Katz, co-curator of Five Centuries of Japanese Screens: Masterpieces from the Saint Louis Art Museum and the Art Institute of Chicago (18 October 2009 - 3 January 2010) , as she examines some of the special characteristics of the folding screen in its pre-20th-century incarnations and explores the use and display of these screens throughout Japanese history, as well as their journey to other parts of the world.
6 November
Shozo Sato (University of Illinois, Emeritus; Northwestern University), "Constructing Traditional Japanese Screens"
Traditional folding screens are considered important architectural elements in Japanese culture. They serve as room dividers, ceremonial objects, and decoration. Join us for a fascinating lecture and demonstration focusing on the details of the Japanese screen. Eminent scholar of Japanese culture Shozo Sato will construct a traditional Japanese folding screen using hand-made paper and time-honored techniques to fashion a structure designed to last through the changing seasons of Japan.
20 November
Brian Hogarth (Independent Scholar), "Golden Mist/Bright Nature: Japanese Screen Paintings"
Japanese screens are richly decorated and often highly detailed works of art using bright colors on beautiful gold backgrounds. Originally designed for a variety of settings and functions, screens usually referenced the seasons, a special event, or familiar scenes from classical literature. Join us for an exciting discussion on the subjects and motifs of screen paintings and the deep meanings behind their exquisite imagery.
University of Arizona
Tucson, AZ
22-24 October 2009
[from WCAAS, 9/12/09; papers/panels relating to Chinese and Japanese visual culture listed below]
Panel 18: Photos at the Turn of the Century (Korea and Japan)
- Charles Shull (Lynchburg College), "An Englishman and His Camera: Japan, 1903-1906"
- Norman Thorpe (Whitworth University), "The Role of Stereo Photographers in Recording Visual Images of Korea Just Before the Japanese Occupation"
Panel 22: Cultural Expressions, China and Japan
- Jennifer Beamer (University of Alberta), "Innovative Ways of Promoting Tradition in Japan: Kyoto's Kimono Station"
- Gabrielle Chang (University of California, San Diego), "Illustrating Shanghai Fashion, 1920s-1930s"
- Amanda Einhorn (University of Arizona), "Spectacles of Social Memory: The Theatrical Semiosis of the Beijing Olympic Opening Ceremony"
Panel 26: Buddhists Texts: Transmission through Time and Space
- Lucille Chia (University of California at Riverside), "Buddhist Print Shops (kejing pu) of Ming China"
Panel 28: Photography and Agency in Asia: Negotiating Identities and Memories
- Hyaeweol Choi (Arizona State University), "Vision of Gender: Reading Missionary Photograph"
- Yu Zou (Arizona State University), "Remembering the Lost City: The 80's Shanghai in Lu Yuanmin's Documentary Photography"
Panel 29: Teapots, Ink Sticks, and Emperor Pilaf: Issues in East Asian Visual Culture
Chair and Discussant: Deborah Deacon
- Meghan Cai (Arizona State University), "Memorial and Commemorative Inscriptions on Chinese Paintings"
- Jacqueline Chao (Arizona State University), "Finding the Words: Contemporary Chinese Artists and the Language of Indentity"
- Robert LaBarge (Arizona State University), "The Functions and Conventions of Names in Akira Toriyama’s Dragonball"
Panel 32: Art, Exercise, and the Internet in Contemporary China
- Sterling Larsen (Brigham Young University), "Painting Between the Lines: Artistic Intent and Thought Work in China"
Panel 33: "Pacing the Void" Down Below- Visualizing and Concretizing the Historical Stage in the Times of the Han
Chair: Enno Giele (University of Arizona)
- Michael Nylan (University of California, Berkeley), "Chang'an, 26 BCE"
- Mark Pitner (University of Washington), "Scaling Place: From the Twelve Zhou to the Intimate Space of the Imperial Palace in Yang Xiong's Works"
- Amanda Buster (University of California, Berkeley), "Political and Social Networks in the Imperial Mausoleum Towns of the Han Period"
- Enno Giele, "Life and Space at the Northwestern Border During the Han Period"
Haus der Kulturen der Welt
Berlin, Germany
22-24 October 2009
[courtesy of R. Kiwitt and J. Noth, 7/20/09]
There is always a tension in Chinese contemporary art between globally informed locality and locally influenced globality, whether seen from the perspective of the art itself, the discourse around it, or the institutions. The conference sheds light on this phenomenon from a transcultural perspective. It calls for re-thinking traditional concepts, and a productive questioning of conventional approaches to research. The conference is a forum for scholars across the globe who are working on different facets of contemporary Chinese art in diverse disciplinary contexts. A synopsis of the conference aims is given on the conference website.
THURSDAY, 22 OCTOBER
Bernd M. Scherer (Haus der Kulturen der Welt) and Jeong-hee Lee-Kalisch (Freie Universität Berlin), Welcome address
Andreas Schmid (independent artist and curator, Berlin), "Sunrise – The China Avant-Garde Exhibition in Berlin January 1993"
Keynote: John Clark (University of Sydney), "Modern and Contemporary Chinese Art: Three Issues"
I. Contemporary Chinese Art in the Transnational and Transcultural Context. Agents Of Cultural Translation
Birgit Hopfener (Freie Universität Berlin), Introduction
Panel IA: Multiple Modernities
- Juliane Noth (Freie Universität Berlin), "Landscapes of Exclusion: The No Name Group and Multiple Modernities"
- Wang Ruiyun (Central Academy of Fine Arts, Beijing),"The Road of China's Modern Art: Self-Consciousness and Four Isms"
Gao Minglu (University of Pittsburgh), Panel response
Panel IB: Processes of Identification
- Birgit Hopfener, "Destroy the Mirror of Representation. Negotiating Installation Art in the 'Third Space'
- Brianne Cohen (University of Pittsburgh), "Cai Guoqiang's Fireworks: Igniting a Paranational Landscape"
John Clark, Panel response
II. The Negotiation of Tradition
- Silke von Berswordt (Art Collection Ruhr-Universität Bochum), "At the Threshold of (In-)Visibility. The White Landscape Paintings
by Qiu Shihua"
- Wang Ching-ling (Freie Universität Berlin), "When Contemporary Art Encounters a National Treasure. Fan Kuan's Travelers Within Mountains and Streams"
Uta Rahman-Steinert (Asian Art Museum, Berlin), Panel response
III. Concepts of Body and Gender in Chinese Contemporary Art
- Wang Ruobing (University of Oxford), "Ziran in Contemporary Chinese Art"
- Doris Ha-lin Sung (York University, Toronto), "Expressions of Body and Gender in Chinese Contemporary Art: Performances by Zhang Huan, Ma Liuming and He Chengyao"
Juliane Noth, Panel response
Panel IIIB
- Eva Aggeklint (Stockholm University), "Masquerading Brides and Grooms: An Analysis of Three Art Portraits in the Medium of Photography"
- Adele Tan (Courtauld Institute of Art, London), "A Question of Desire: Women, Bodies and Performance Art in China"
Karin Gludovatz (Freie Universität Berlin), Panel response
IV. Contemporary Chinese Art and Its Spaces of Production
- Lee Ambrozy (Central Academy of Fine Arts, Beijing), "A History of Realism in Chinese Art Pedagogy. How Realism Affects Contemporary Art Production and Consumption"
- Wenny Teo (University of London), "Made in China: Qiu Anxiong´s 'We are the World'"
Pauline Yao (independent art critic and curator, Beijing), Panel response
SATURDAY, 24 OCTOBER
Franziska Koch (Universität Heidelberg), Introduction
V. Contemporary Chinese Art and Strategies of (Dis-)Engagement
- Zheng Bo (University of Rochester), "Situating Socially Engaged Art in China"
- Beatrice Leanza (independent curator, Beijing), "Non-Antagonistic Contradiction: Alternative Spatial Practices and Provisional Communities in Contemporary China"
Thomas Berghuis (University of Sydney), Panel response
VI. Curating Chinese Contemporary Art
- Davide Quadrio (BizArt Art Center, Shanghai; Arthub Hongkong), "The Perfection of the Imperfection or the Principles of Adaptation"
- Meiqin Wang (California State University, Northridge), "Everyone Curates: From Global Avant-garde to Local Reality"
- Francesca Dal Lago (Leiden University), Panel response
VII. Dis-Playing Contemporary Chinese Art
- Thomas Berghuis, "China and the World: The Official Re-Positioning of Chinese Contemporary Art onto the Global Stage at the Start of the Twenty-First Century"
- Franziska Koch, "(Dis-)Playing 'Mahjong.' Uli Sigg and the Power of Private Collectors in the Global Canonization of Chinese Contemporary Art"
Hans Belting (Staatliche Hochschule für Gestaltung, Karlsruhe), Panel response
VIII. Contemporary Chinese Art: Market and Meaning
- Joe Martin Hill (New York University), "Contemporary Chinese Art in the International Auction Market: An Insider's Overview and Assessment in Comparative Perspective"
- Peggy Wang (University of Chicago), "Critical Discourses: Debating the Value of Contemporary Chinese Art in the 1990s"
Francesca Dal Lago, Panel response
Summary And Discussion: Perspectives on Future Research
Panelists:
Hans Belting (Staatliche Hochschule für Gestaltung, Karlsruhe)
Thomas Berghuis (University of Sydney)
John Clark (University of Sydney)
Li-qing Dai (National Changhua University of Education)
Gao Minglu (University of Pittsburgh)
Francesca Dal Lago (Leiden University)
The international conference is hosted by:
Freie Universität Berlin
Department of History and Cultural Studies
Institute of Art History
East Asian Art History
Koserstr. 20
14195 Berlin, Germany
tel +49 30 838-53868
fax +49 30 838-53810
e-mail <oakg@zedat.fu-berlin.de>
www.fu-berlin.de/conference-negotiating-difference
Head: Jeong-hee Lee-Kalisch
Conference Concept: Birgit Hopfener, Franziska Koch
Conference Organisation: Ronald Kiwitt, Juliane Noth
For registration, please contact Ronald Kiwitt.
Pennsylvania State University
University Park, PA
22-25 October 2009
[from the Penn State, 7/20/09]
In Os Lusiadas, the 16th-century Portuguese national epic, Luiz Camões's poetic hero, Vasco da Gama, dreams up a meeting with two old men who foretell the Portuguese imperial destiny in India. Personifications of the rivers Ganges and Indus, the spent senility of South Asia serves only to highlight the youthful confidence of Portugal, conqueror of the oceans. Likewise, in his lectures on the "Philosophy of World History," given at the Humboldt University between 1822 and 1831, Hegel compared the stagnant civilization of China with the dynamism of European culture: moral conformity and social uniformity on one side, the individualism and critical reflection on the other. Such were the commonplaces in western confidence, formulated in centuries of European expansion and colonialism, which postulated a dichotomous essence between West and East, Europe and Asia, new and old.
With the end of western imperialism, this image of a monolithic Asia, fabricated in the West, has fractured into fragments that have yet to yield a more accurate and comprehensive picture of the Asian past. Civilizations in Asia may be ancient, but they were not enfeebled; and the massive size of the continent represents an immense diversity of cultures, economies and peoples, rather than the uniform and sluggish spirit manifested, for example, in Karl Marx's description of "an Asiatic mode of production." Above all, economic, cultural, and political currents connected the different regions of Asia long before the arrival of European mariners, and will continue to shape the future of the continent.
Our conference, therefore, aims to highlight both the cultural exchanges between different regions within Asia and between Asia and the world. Are there factors and themes common to Asian societies that are reflected in the spread of Buddhism and Islam? Can we think of similarities in the imperial traditions of East and South Asia, and whether the same road was taken by these societies in the painful transformation from empires to nations ? How did Japan, China, Southeast Asia, and the Mughal Empire accommodate the new European powers? How did Pan-Asian ideas develop at the height of western imperialism, and how were they abused by the rising Japanese empire? And what might be, if any, the common future of Asia in the global world?
Speakers
Contemporary
Gretchen Casper (Pennsylvania State University)
Rebecca Karl (New York University) (tentative)
Naoki Sakai (Cornell University)
Haun Saussy (Yale University)
Ashutosh Varshney (University of Michigan)
Vineeta Yadav (University of Notre Dame)
Modern
Cemil Aydin (University of North Carolina, Charlotte)
Madhuri Desai (Pennsylvania State University)
Alexander Huang (Pennsylvania State University)
Lydia Liu (Columbia University)
Anand Yang (University of Washington)
Louise Young (University of Wisconsin-Madison)
Early Modern
Kumkum Chatterjee (Pennsylvania State University)
Monica Juneja (Universität Heidelberg)
On-cho Ng (Pennsylvania State University)
Greg Smits (Pennsylvania State University)
Huang Chun-chieh (National Taiwan University)
Classical/premodern
Erica Brindley (Pennsylvania State University)
Richard Eaton (University of Arizona)
Charlotte Eubanks (Pennsylvania State University)
David McMahan (Franklin & Marshall College)
Morris Rossabi (City University of New York Graduate Center)
Eugene Wang (Harvard University)
Research Forum
Courtauld Institute of Art
London, UK
23-24 October 2009
[courtesy of Research Forum, 9/10/09]
"Modernity's Cultural Politics: China in Context" is a two-day conference that considers the formations and functions of cultural production, in representing and intervening ethico-politically into the ongoing projects of modernity, particularly when modernities intersect with processes of globalisation. The conference will focus on the incomplete projects of Chinese modernities, through panels on critical theory, contemporary art, film and documentary, media and the public sphere, with invited speakers from Asia, the US and the UK . Topics include, but are not limited to: the intellectual legacy of post-Tienanmen modern critical theory; the politics of postwar and contemporary art in traditional and experimental media, as they are affected by postcoloniality, globalisation, feminism and the cultural revolution; the ways in which film – commercial film, auteur film, and documentary--imagine modern politics and publics, and reflect/resist the logic of capital; the conditions of modern media in an age of intellectual property and social media, as significant forces in how culture intervenes into the tumultuous processes of modernity, and the modern nation's struggle for self-definition.
Provisional program
First session: Media and The Public Sphere
Second session: Film and Documentary
Third session: Art and Matters
- Joan Kee (University of Michigan), "Why Chinese Paintings Are So Large"
- Paul Gladston (University of Nottingham at Ningbo, China), "Curatorial Discourse and
the Limits of Speech--Critical Reflections on the Third Guangzhou Triennial: Farewell
to Post-Colonialism"
- Winnie Wong (Massachusetts Institute of Technology), "'To Paint Whatever You Want To Paint': Fictions of Creativity from Dafen Village"
- Adele Tan (Courtauld Institute of Art), "Wrapping It Up: The Bindings of Modernity in Chinese Performance Art"
Fourth session: Critical Theory after Dushu
Princeton Univesity
Princeton, NJ
24 October 2009
[from Tang Center, 8/3/09; consult this site for registration and other information]
An international symposium in conjunction with the exhibition Humanism in China: A Contemporary Record of Photography (24 September - 13 December 2009), China Institute, New York. Organized by the P.Y. and Kinmay W. Tang Center for East Asian Art.
Western photographers have been showing China to Westerners for 150 years, and photography has been a major medium in Western museums since the 1950s. It was not until 2003, however, that the Guangdong Museum of Art exhibited the first permanent collection of works by Chinese documentary photographers ever assembled by a Chinese museum. The Guangdong Museum's collection was selected by a curatorial committee of photographers who spent two years touring more than 20 provinces, viewing 100,000 photographs, and selecting 600 works by 248 photographers. Beginning on 24 September 2009, the China Institute Gallery in New York will have the privilege of holding the first exhibition of this collection in America, featuring a selection of 100 of these photographs. In association with this event, the Tang Center for East Asian Art will host a symposium, "China Seen by the Chinese: Documentary Photography, 1951-2003," at Princeton University on 24 October 2009. Presentations will consider historical and cross-cultural perspectives, critical and theoretical approaches to the subject, and the problem of defining "documentary" photography.
Symposium Schedule
Registration and coffee, 8:30-9:30
Jerome Silbergeld (Princeton University),Welcome and Introduction
Sara Judge McCalpin (China Institute), "Humanism in China: The China Institute Exhibition"Morning Session
Chair: Jerome Silbergeld
- Jerome Silbergeld, "China Seen by the Chinese: Documentary Photography, 1951-2003"
- James Elkins (School of the Art Institute of Chicago), "Documentary Photography Projects: Some Observations"
- Eliza Ho (Ohio State University), "Sha Fei and the Beginning of Chinese Social Documentary Photography"Afternoon Session
Chair: Dora C.Y. Ching (Princeton University)
- Richard K. Kent (Franklin and Marshall College), "Reclaiming Documentary Photography"
- David J. Clark (University of Bolton, UK, in cooperation with Dalian College of Image Art; Ateneo de Manila University, Philippines), "Famine and Bare-Foot Children"
- William Schaefer (University of California, Berkeley), "Ecologies of Photographs"
- Bridget Alsdorf (Princeton University), "Problems of Perspective in Chinese Documentary Photography"Discussion
Conclusion
Jerome Silbergeld
Aida Makoto
Today Art Museum
Beijing, China
24 October 2009
[from Today, 11/15/09]
Aida Makoto, called "the news reporter of Japanese society," gained his Master’s Degree at the Tokyo National University of Fine Arts and Music in 1991 and has been working with various techniques and subjects to explore multidirectional translations of ideas. He has established a unique position that is hard to categorize. In his work he has inherited a dedication to traditional Japanese culture as well as knowing how to respond to current society, using skills that well suit his purposes. In his lecture Aida will take the audience on a tour of Japanese contemporary art through his own works, so as to give us an idea of both himself and Japanese contemporary art.
Exhibition Lecture
Japan Society
New York, NY
27 October 2009
[from Japan Society, 9/6/09]
Textile scholars Terry Satsuki Milhaupt and Amanda Mayer Stinchecum, contributors to the catalogue for Japan Society's retrospective exhibition of the work of Serizawa Keisuke (1895-1984), discuss different facets of the artist's creative career. Milhaupt explores Serizawa's integration of designs from other cultural traditions, while Stinchecum examines the influence of Okinawan bingata stencil-dyed textiles on his work.
Moderated by exhibition curator and Japan Society Gallery Director Joe Earle.
Followed by a reception.
The first in a series of lectures jointly organized with the Japanese Art Society of America.
Hongnam Kim
Victoria & Albert Museum
London, UK
28 October 2009
[from V&A, 9/6/09]
Dr. Hongnam Kim, former Director of the National Museum of Korea and a leading thinker on cultural policy, gives the 2009 Henry Cole Lecture, a prestigious annual series celebrating the legacy of the V&A's founding director. The lecture explores the changing role of cultural institutions in Korea and other Asian countries, as they respond to the challenge of demonstrating their value to their societies in the post colonial era.
Freer Gallery of Art
Smithsonian Institution
Washington, DC
29 October 2009
[courtesy of Freer, 10/19/09]
Artist and filmmaker Sun Xun (b. 1980, Fuxin, China), whose videos are currently on view in "Moving Perspectives" at the Arthur M. Sackler Gallery, will screen several of his recent video works and discuss his creative process. A graduate in printmaking at the Hangzhou Academy of Fine Arts, Xun has gained considerable recognition for his drawings and complex animations. Composing hundreds of paintings and drawings on old newspapers, canvas, or entire blank walls, he then films his hand-drawn images to create densely layered works that evoke China's turbulent past. Clocks, magicians, words, insects and bleak industrial landscapes become characters flickering across the screen in dark allegories on the nature of historical consciousness and the passage of time.
The screening and presentation will be followed by a conversation with Carol Huh, curator for contemporary Asian art at the Freer and Sackler Galleries. A translator will be present.
Nixi Cura (Christie's Education London)
University of Oxford
29 October 2009
[from China Centre, 10/29/09]
Museum of East Asian Art
Cologne, Germany
30 October 2009
[courtesy of A. Schlombs, 9/9/09]
In 1909 the city of Cologne founded the Museum of East Asian Art which was based on the collection of Adolf Fischer (1857-1914). In autumn of 2009 the museum celebrates the centenary of its founding with an exhibition The Heart of Enlightenment (17 October 2009 - 10 January 2010) and this conference. Experts from museums, whose collections included works of East Asian art as early as 1909, will give an insight into the history of their collections. The contributions by experts from Western and Eastern Europe as well as the US will provide a rich and multi-faceted panorama which reveals common ground, and also differences that were partly due to the rivalry among the European colonial powers. The contributions will also reveal that the founding of the Cologne museum coincided with the period of the great Central Asia expeditions that mark the beginning of East Asian art history as an academic discipline. In addition, the conference aims at contributing to the study of provenance in East Asian art.
- Welcome addresses: Professor Georg Quander and Adele Schlombs
-
Adele Schlombs (Museum of East Asian Art, Cologne), "New Horizons of the Early 20th Century: The Founding of the Museum of East Asian Art in Cologne and the Idea of a Museum Specialized in the Arts of East Asia"
-
Herbert Butz (Museum für Asiatische Kunst, Berlin), "New Beginnings in Berlin 1909: Early Presentations of the East Asian Collections in Berlin and Munich"
-
Nora von Achenbach (Museum für Kunst und Gewerbe, Hamburg), "Justus Brinckmann and the Collection of Japanese Art in Hamburg"
-
Maria Menshikova (The Hermitage, St. Petersburg), "Chinese Applied Arts from the Collection of Schtiglitz-Polovzov Family and the Russian Central Asia Expeditions"
-
Alexander Sinitsyn (Kunstkamera, St. Petersburg), "The Story of the Japanese Collections of the Museum of Anthropology and Ethnography (Kunstkamera) of the Russian Academy of Sciences from the Early 18th to the Early 20th enturies: Peculiarities, Collectors, Masterpieces"
-
Györgyi Fajcsák (Ferenc Hopp Museum, Budapest), "The Arts of Asia in Hungary Around 1909"
- Clarissa von Spee (British Museum, London), "Sir Aurel Stein's Second Silk Road Expedition (1906-09): A Milestone in the Formation of the Asian Art Collection at the British Museum"
-
(Musée Guimet), "Paul Pelliot and the Early History of the Musée Guimet's Collection"
-
Stanley Abe (Duke University), "Circa 1909: Moving Japanese and Chinese Scultpure to the United States"
-
Chen Shen, Curator (Royal Ontario Museum), "Bishop White and James Mellon Menzies: The Role of Christian Missionaries in Forming the Collections of Chinese Art in the Royal Ontario Museum, Toronto"
Harn Eminent Scholar Lecture
Marsha Haufler (University of Kansas)
Harn Museum of Art
University of Florida
Gainesville, FL
30 October 2009
[from Harn, 9/6/09]
Professor McNair is the preeminent scholar in Tang dynasty calligraphy and Buddhist art. Her recent book about Buddhist inscription in the cave site of Longmen in Henan Province, Donors of Longmen: Faith, Politics, and Patronage in Medieval Chinese Buddhist Sculpture, is a very important step in research about Chinese calligraphy, combining with the cultural understanding of Buddhism in Medieval China. She has won many national and international fellowships and honors and is the recent recipient of the National Endowment for the Humanities Research Fellowship. The topic for her fellowship, "Lives of the Imperial Painters: Chinese Biographies in Translation," was the translation of the 12th-century "Catalogue of the Imperial Painting Collection in the Proclaiming Harmony Era."
Birgit Mersmann (Jacobs University)
"The Transnational Study of Culture: Lost or Found in Translation? Cultural Studies – Sciences Humaines – Kulturwissenschaft(en)"
International Graduate Centre for the Study of Culture
Justus-Liebig-Universität
Gießen, Germany
30 October 2009
[from the GCSC, 10/22/09]
Victoria and Albert Museum
London, UK
30-31 October 2009
[from the V&A, 3/29/09]
This two-day conference builds on the achievements of the recently completed Mazarin Chest Project. It will bring together a group of twenty speakers from the fields of lacquer conservation, conservation science and material culture from Australia, North America, Japan, Europe and the UK.
Art historical papers will explore aspects of lacquer history including the trade in lacquer in Asia and Europe. Scientific papers will include lacquer analysis, the use of solvents for cleaning lacquer, stress measurement in lacquer films, and new evidence of the use of South East Asian materials in seventeenth century Japanese export lacquer.
Conservation papers will discuss risk factors for lacquer collections, cleaning techniques, and the photo-degradation of lacquer and potential conservation treatments.
The keynote talk will be given by Dr Christine Guth.
FRIDAY, 30 OCTOBER
-
Christine Guth, "Losing Touch with Lacquer"
- Yoshihiko Yamashita and Shayne Rivers, "Photo-degradation of Urushi: Implications for Conservation"
-
Brenda Keneghan, Shayne Rivers and Yoshihiko Yamashita, "Photo-degradation of Urushi: Preliminary Examination of Conservation Options"
-
Shayne Rivers and Yoshihiko Yamashita, "Conservation of Photo-degraded Urushi on the Mazarin Chest"
-
Catherine Coueignoux, "The Effects of Consolidation on the Appearance of Powdery Pigmented Japanese Lacquer Surfaces"
-
Ricky Wildman and Adel Elmahdy, "Stress Measurement in Japanese Lacquer Thin Films using Phase Shifting Interferometry"
-
Julia Hutt, "How many 'Mazarin Chests' were there?"
-
Kaori Hidaka, "Maritime Trade in Asia and the Circulation of Lacquerware"
-
Cynthia Vialle, "Dutch Company Servants' Private Trade in Japanese Lacquer during the Seventeenth Century"
SATURDAY, 31 OCTOBER
-
Jeff Moore, "The French Connection: A Conservation Treatment Plan for Eighteenth Century Chinese Lacquer Panels Adapted for an American Beaux Arts-style House"
-
Suzi Shaw, "A Cornucopia of Carving Techniques: An Analysis and Treatment of a Qing Dynasty Lacquered Screen"
-
Marianne Webb, "Auto-fluorescence of Urushi"
-
Emma Schmuecker, "The Cleaning of Red Lacquer on Japanese Armours"
-
Jamie Hood, "Cross Section Analysis of Lacquer from Japanese Armour: An Aid to Establishing the History of an Object"
-
Carolyn McSharry, "Solvent Cleaning Photo-degraded East Asian Lacquer"
- Arlen Heginbotham and Michael Schilling, "New Evidence for the Use of South-East Asian Materials in Seventeenth Century Japanese Export Lacquer"
-
Meiko Nagashima, "Mid-Edo Period Lacquer Production seen through Historical European Collections"
-
Monika Bincsik, "Circulation of Japanese Lacquer Objects in Eighteenth Century Europe"
-
Boris Pretzel and Catherine Coueignoux, "Caring for the V&A's Lacquer Collection: Results of a Pilot Survey"
The conference has been made possible through the generosity of The Getty Foundation.
Mid-Atlantic Region Association for Asian Studies (MAR/AAS) 38th Annual Conference
Villanova University
Villanova, PA
30 October - 1 November 2009
[from MAR/AAS, 10/10/09; papers/panels relating to Japanese and Chinese art history listed below]
Panel 2: Authority Envisioned: Roads to Power in Pre-Modern Japan
- Michael Laver (Rochester Institute of Technology), "The Shogun's Menagerie: The Dutch, Gift-Giving, and the Politics of Legitimacy in
Premodern Japan"
Panel 3: Horses and Landscapes in Chinese Visual Culture
Chair: Virginia Bower (University of the Arts, Philadelphia)
- Virginia Bower, "Polo After the Tang"
- Zhou Xiuqin (University of Pennsylvania), "Crenelated Mane and its Cultural Significance at the Zhaoling Tomb"
- Selena Wang (Metropolitan Museum of Art), "Pursuing the Essence of the Literati Painting: A Study of Wang Yuanqi's (1642-1715)
Landscape Painting after 1700"
Panel 14: Archaeology and Aesthetics in Korea and China
Chair: Frank L. Chance (University of Pennsylvania)
- Minkyung Ji (Philadelphia Museum of Art), "The Decline and Close of Tomb Mural Painting Tradition in Korea: On Goryeo (918-
1392) and Early Joseon (1392-1910) Tomb Paintings
- Zoe S. Kwok (Princeton University), "Grounding their Position: Paintings of Women from the 10th Century"
- Zhao Lu (University of Pennsylvania), "An Interpretation of Two Wall Paintings on Baoshan Tomb Number 2"
Panel 17: The Tale of Genji in Popular Cultures
Chair: Linda H. Chance (University of Pennsylvania)
- Linda H. Chance, "I Smell a Prince: The Cultural Attraction of Gentlemen in the Genji"
- Diane C. Freedman (Community College of Philadelphia), "The Tale of Genji in the Floating World of Woodblock Prints"
- Laura Nuffer (University of Pennsylvania), "Repurposing Genji: Situating a 'Timeless' Classic in the Modern Aesthetic"
Panel 21: Buddhist Art and Architecture in China
Chair: Nancy Steinhardt (University of Pennsylvania)
- Martie Geiger-Ho (University of Pittsburgh), "Disseminating Research on New Foshan Taoshi Zumiao (Pottery Master God Temple) to
Those Outside of Foshan"
- Kong Ho (University of Pittsburgh), "The Influence of Chinese Buddhist Grottoes Goes Beyond Religious and Cultural Borders"
- Lala Zuo (University of Pennsylvania), "Feilaifeng (Yuan Buddhist Caves): The Most Exquisite Yuan Architecture in Sichuan"
- Jianwei Chang (Institute of Architectural History, School of Architecture, Southeast University, Nanjing), "A Study of the Sanskrit Letters in Murals and Roof End Tiles of Chongfusi in Shuozhou, Shanxi"
Panel 23: Networks and Partnerships: Case Studies of Collaboration in East Asian Art
Chair: Julie Davis (University of Pennsylvania)
- Julie Davis, "Toriyama Sekien and His Students"
- Jeehyun Lee (University of Pennsylvania), "Educating the Art of Beauty: The Politics of the Tokyo School of Fine Arts Yoga
Department"
- Kim Wishart (Princeton University), "Collaboration in Ming Painting"
- Erin Kelley (University of Pennsylvania), "Shirakaba-ha, The White Birch Society"
Panel 29: Challenges and Resources for Teaching Chinese Calligraphy and the
"Three Perfections" in the Undergraduate Curriculum
Chair: Jason Kuo (University of Maryland)
- Yuli Wang (University of Maryland), "Ways of Teaching the Practice of Chinese Calligraphy to American College Students"
- Stephen J. Goldberg (Hamilton College), "On the Aesthetic Reception of the Art of Chinese Calligraphy"
- Jason C. Kuo, "Approaches to Teaching "The Three Perfections" in Chinese Visual Culture"
Presidential Roundtable: Visualizing Asian Cultures: Using Images in Teaching, Research, and Publication
Chair: Marlene J. Mayo (President, MAR/AAS)
- Alexander Huang (Pennsylvania State University), "Global East Asia: Transcultural Flows of Images"
- Risa Morimoto (independent film-maker), "Selecting/Clearing Archival Material for Wings of Defeat"
Discussant: Robert Hefner (President, Association of Asian Studies)
Huntington Library
San Marino, CA
31 October 2009
[from Huntington, 9/6/09]
The interactions between poetry, the landscape, and man will be examined in this one-day symposium featuring a panel of noted Chinese cultural historians. Poetry enhances the spirit of leisure in the garden and offers insights to the garden's "soul." The naming of structures and scenic views is a centuries-old literary tradition that is still evident today in The Huntington's Garden of Flowing Fragrance. $10. Registration: hchang@huntington.org or (626) 405-3568.
Lothar von Falkenhausen (University of Southern California)
Minneapolis Institute of Arts
31 October 2009
[from MIA, 9/6/09]
An ancient Chinese-art specialist and professor of art history at UCLA, von Falkenhausen will talk about his research on the archaeology of the Chinese Bronze Age, focusing on interdisciplinary and historical issues. He has published widely on ancient Chinese musical instruments, especially chime-bells, and bronzes, and is directing excavations at ancient salt-production sites in the Yangzi River Basin.
This lecture is co-presented with the Archaeological Institute of America and its local chapter.
Rose Kerr (Needham Research Institute)
Christie's
London, UK
1 November 2009
[from Asian Art in London, 9/12/09]
In conjunction with the launch of the book Song China Through 21st Century Eyes: Yaozhou and Qingbai Ceramics by Rose Kerr, Honorary Associate of the Needham Research Institute in Cambridge, an Honorary Fellow of Glasgow University, and a former Keeper of the Far Eastern Department at the Victoria & Albert Museum. This book discusses Song Dynasty Yaozhou and Qingbai ceramics. Ilustrated from one of the finest private collections in the world, it is authored by the world-renowned authority on Chinese ceramics Rose Kerr.
in conversation with Kabir Mansingh Heimsath (University of Oxford)
Rossi & Rossi
London, UK
1 November 2009
[courtesy of Rossi & Rossi, 10/22/09]
Tibetan contemporary artist Tsewang Tashi, on the occasion of his first solo exhibition in the United Kingdom Untitled Identity, will discuss his artistic practice with Kabir Mansingh Heimsath, doctoral candidate in Anthropology at the University of Oxford.
RSVP: arianna@rossirossi.com
Asia Society
New York, NY
2 November 2009
[from Asia Society, 9/6/09]
Join us for an evening exploring contemporary Chinese arts with avant-garde artist Wenda Gu and award-winning composer Tan Dun in conversation with Melissa Chiu, director of the Asia Society Museum. Two of China's most provocative and adventurous artistic voices talk about their work and ponder future directions for themselves and for contemporary Chinese art(s), at a time when the very process of creating work has become increasingly fluid and complex, and Chinese artists are working at the intersection of national identity and global culture.
This program is presented as part of the Carnegie Hall's Ancient Paths, Modern Voices: A Festival Celebrating Chinese Culture, and is made possible by The Kai-Yin Lo Distinguished Program Series, which aims to create a platform to discuss the role of Asian arts and culture in contemporary society.
Lilla Russell-Smith (Asian Art Museum, Berlin)
Bonhams
London, UK
2 November 2009
[from Asian Art in London, 9/12/09]
A lecture on Buddhist art in the desert oases cities of the Silk Road.
Matthew McKelway (Columbia University)
University of Cambridge
Cambridge, UK
2 November 2009
[courtesy of M. McKelway, 9/21/09]
Yuming He (University of Chicago)
University of Michigan
Ann Arbor, MI
3 November 2009
[from CCS, 9/16/09]
Today Art Museum
Beijing, China
3 November 2009
[from Today, 11/15/09]
From Chen Danqing and Qin Feng who gave us Western Prints and Beijing City and 1927-1949 Images of the Republican Period comes a new exhibition: William Alexander's Qianlong Empire. In the 18th century, rapid technological development helped the British expand their overseas colonies, as opposed to China, located in the Far East, which stubbornly refused to accept these newly created methods. In order to expand the business relationship with China, King George III sent British Ambassador George Macartney to China on a mission, which left many valuable records to later generations. For the arts community, the most influential one is the water color paintings and books of engravings which record what William Alexander saw and heard when he accompanied the visit to China.
After an opportunity to appreciate these original engraving works, we will be able to hear about local customs and the art history relating to these images. Tan Ping (Central Academy of Fine Arts) and Yan Hui (Tsinghua University), who are experts in this field, have been invited to deliver the lecture.
Melissa Chiu (Asia Society Museum, New York)
University of Michigan
Ann Arbor, MI
4 November 2009
[from CCS, 9/16/09]
Many assume that Chinese contemporary art emerged five years ago when the market was established through record-breaking auctions but this belies a much longer history. Melissa Chiu's lecture is designed to shed light on the early experimental developments in the Chinese art world through an analysis of the past three decades with specific attention on how these artists responded to local conditions while also keenly aware of their international audiences.
First International Symposium Organized by the Palace Museums across the Strait
National Palace Museum
Taipei, Taiwan
4-6 November 2009
[from NPM, 10/16/09]
In conjunction with the exhibition of Harmony and Integrity: Emperor Yongzheng and His Times (7 October 2009 - 10 January 2010), which means to provide the viewing public with a more accurate and deeper understandings of this early Qing ruler, the National Palace Museum has held a series of popular speeches, during the days of exhibition, about Yongzheng himself and the Qing dynasty in general. It also joins with Beijing National Palace Museum in sponsoring "The First International Symposium Organized by the Palace Museums Across the Strait--The Complexities and Challenges of Rulership: Emperor Yongzheng and His Accomplishments in His Time" in order to promote academic and cultural exchanges across the Strait.
This symposium will include three sub-topics in its three days of proceedings: (1) Yongzheng's character; (2) his reign; and (3) the cultures and arts at his times. It will try to investigate from all perspectives the emperor's personal life; the historians' evaluations of him; and the cultures and arts under his reign, so as to deepen our appreciations of the inner world, political and economical reforms, cultural establishments, artistic tastes of, and the epoch led by an emperor who ruled during the critical transition between the reigns of prosperity under Emperors Kangxi and Qianlong.
We hope this symposium will not only strengthen the academic, cultural, and artistic exchanges and cooperation across the Strait and between the two National Palace Museums, but also further encourage the studies of the Qing history, cultures, and arts in Taiwan.
[Papers/panels relating to visual and material culture extracted from the full program (in Chinese)]
Panel 1
Chair: Lin Po-t'ing (National Palace Museum)
- Wang Yao-t'ing (National Palace Museum), "The Yongzheng emperor's painted portraits, costume portraits and others"
Respondent: Nie Chongzheng (Palace Museum)
- Chen Pao-chen (National Taiwan University), "Performance and other related issues in the pictures of Yongzheng and Qianlong in Han dress"
Respondent: Nie Chongzheng
- Guo Fuxiang (Palace Museum), "Issues relating to the Yongzheng emperor's imperial seals"
Respondent: Yu Kuo-ch'ing (National Palace Museum)
Panel 2
- Yan Chongnian (Beijing Academy of Social Sciences), "A study of princely palaces in the Yongzheng reign"
Panel 6
Chair: Li Wenru (Palace Museum)
- Liu Lu (Palace Museum), "The sacrifice to the first farmer and the ceremony of ploughing the sacred field in Sacrifice to the First Farmer: An important political instrument of the Yongzheng emperor"
Respondent: Chen Pao-chen
- Chen Hsi-yuan (Academia Sinica), "The final piece of the puzzle in the system of altar sacrifices in imperial China: The Yongzheng emperor and the altar to the first farmer in the construction of a national fabric"
Respondent: Ch'iu Chung-lin (Academia Sinica)
- Lo Hui-chi (National Taiwan University), "A domain of peace and prosperity: A dialogue between father and son rendered in the Kangxi and Yinzhen versions of the Pictures of Tilling and Weaving
Respondent: Chen Pao-chen
Panel 7
- Chen Kelun (Shanghai Museum), "Elements of Western culture in Yongzheng court art as seen in a six-sided fencai enamel bottle"
Respondent: Hsieh Ming-liang (National Taiwan University)
- Wang Guangyao (Palace Museum), "The construction of an imperial kiln system in the Yongzheng period"
Respondent: Hsieh Ming-liang
Panel 8
- Zhang Rong (Palace Museum), "Research on lacquer in the palace workshops during the Yongzheng reign"
Respondent: Tsai Hsiao-fen (National Palace Museum)
- Ch'en Hui-hsia (National Palace Museum), "The Yongzheng emperor's cultural outlook as seen in lacquerware copying foreign forms"
Respondent: Tsai Hsiao-fen
- Shih Ching-fei (National Palace Museum), "Differentiation of taste: painted enamelware produced during the Yongzheng period"
Respondent: Tsai Hsiao-fen
Panel 9
- Yang Danxia (Palace Museum), "A glimpse of the Yongzheng emperor's calligraphy"
Respondent: Ho Chuan-hsing (National Palace Museum)
- Fu Shen (National Taiwan University), "Handwritten and ghostwritten [works] by the Yongzheng emperor's fourth son Hongli while an imperial prince"
Respondent: Ho Chuan-hsing (National Palace Museum)
- Ch'iu Shih-hua (National Palace Museum), "Names of professional painters rarely transmitted in Qing history? Questions relating to those who produced the pictures of Yongzheng and The Twelfth Month"
Respondent: Ho Chuan-hsing (National Palace Museum)
[Registration information here.]
Matthew Welch
Minneapolis Institute of Arts
5 November 2009
[from MIA, 9/6/09]
The last great painter of the Muromachi period, Sesson Shukei exemplified the full assimilation of the Chinese-derived ink-painting tradition. His dynamic approach distinguished him from his Japanese contemporaries, and a recent exhibition in Japan dubbed him "super eccentric." The MIA possesses a monumental pair of screens by this remarkable artist, which reveals the magic of his unique vision.
Presented by the Asian Art Curatorial Council.Fellowships for Dissertation Research in the HumanitiesFellowships for Dissertation Research in the Humanities
Orange County Museum of Art
Newport Beach, CA
5 November 2009
[from USCI, 11/4/09]
A panel discussion moderated by University of California Humanities Research Institute Director David Theo Goldberg and University of California at Irvine Professor Ackbar Abbas with "Class of 1978" composer Liu Sola and artist Liu Dan on "Designing China," a seminar in experimental critical theory hosted in Shanghai this summer. This event is presented in conjunction with Video Work by Gao Shiqiang and Chen Qiulin (11 October 2009 - 10 January 2010).
University of Potsdam
Potsdam, Germany
5-7 November 2009
[from H-ARTHIST, 9/20/09; papers relating to China or Japan listed below]
Section I: Orientalism as Sensual Fantasy of "Other" and "Self"
- Nina Trauth (Universität Trier), "'As Favoured by Europeans': Oriental Clothing in Portraiture"
Section II: Practices of Fragmentation and Assimilation of the "Other"
- Gertrud Lehnert (Universität Potsdam), "Orientalism in 18th and 19th Century Fashion Journals"
- Simona Segre Reinach (Università IUAV di Venezia; Università IULM di Milano), "From 'Made in China' to 'Made for China'"
- Yuniya Kawamura (State University of New York), "The Globalization of Japanese Lolita Fashion"
Section III: Re-Orientalizing, Re-Occidentalizing: Cross Cultural Consumption, Cultural Self-Reflexion, Return of the Local
1. Transcultural Concepts of Fashion
- Giorgio Riello (University of Warwick), "Fashion and the Four Parts of the World: Historical Interpretations of Fashion as Concept and Practice in the Early Modern Period"
- Dorothy Ko (Columbia University), "Fashion in the Orient: Toward a Definition of Non-Western Fashion"
2. Transculture, Fusion Culture
- Lise Skov (Copenhagen Business School), "How Orientalism/Occidentalism in Fashion Design is Produced, Discovered and Valued across Cultures"
- Heike Jenß (Parsons The New School for Design), "Hybrid Wardrobes: Fashioning Trans-Cultural Identities"
3. Re-Orientalizing
- Maxine Berg (University of Warwick), "Trading Asian Export Ware 1650-1800"
- Reina Lewis (University of East London), "Mixing and Matching: Fashion and the Politics of Cultural Exchange"
- Oly Firsching-Tovar (Technische Universität Dortmund), "Reviving Kimono: Fashion as Memory at the Turn of the Century"
American Studies Association
Washington, DC
5-8 November 2009
[from ASA, 10/22/09; papers/panels relating to Chinese visual culture listed below]
Early America, Asia, and the Pacific
- Jim Egan (Brown University), "What's Chinese about China in Revolutionary America? Benjamin Franklin's Fine and Noble China Vase"
Transnational Markets and Communities: Comparative Cultural Citizenship and the Politics of Belonging
- Nhi Lieu (University of Texas), "Beauty and Ethnicity in Wedded Bliss: Rites and Romance in the Transnational Asian/American Bridal Industry"
Cultural Spaces of Neoliberalism and Modes of Belonging
- Lena Sze (New York University), "Gentrification and the Role of the Museum: Mapping Practices and Possibilities in Manhattan's Chinatown"
Frontier Encounters: Citizenship and Belonging in Western Photographic Portraits
- Elizabeth Hutchinson (Barnard College), "A Citizen of the World? Chang, the 'Chinese Giant'"
Regimes of Memory and the Power of Forgetting
- Laura Wexler (Yale University), "Chinese Family Photographs and American Collective Memory"
British Museum
London, UK
7 November 2009
[from BM, 9/7/09]
This study day is for anyone interested in Chinese history. World experts will deliver papers on Song, Yuan, Ming and Qing ceramics of the 10th to 19th centuries. The study day, run in collaboration with Asian Art in London, celebrates the arrival of the Sir Percival David Collection at the British Museum and the opening of the new Sir Joseph Hotung Centre for Ceramic Studies.
- Loretta Hogan (British Museum), "Sir Percival David Collection: new discoveries through conserving the collection"
- Shelagh Vainker (Ashmolean Museum), "Treasures of the Northern Song dynasty"
- Rose Kerr (Needham Institute; Great Britain-China Education Trust; University of Glasgow), "Classic taste and perfect glazes: southern Song ceramics"
- Rosemary Scott (Christie's), "China under the Mongols"
- Jessica Harrison-Hall (British Museum), "Jingdezhen and the Ming revolution"
- Regina Krahl (Sir Percival David Collection), "Falangcai wares and the Qing palace"
British Museum
London, UK
7 November 2009
[from Asian Art in London, 9/12/09]
The symposium will explore the role and meaning of dogû in prehistoric Japan and in contemporary culture, drawing on the latest research and discoveries.
Organized by the Sainsbury Institute for the Study of Japanese Arts and Cultures in association with the exhibition The Power of Dogu: Ceramic Figures from Ancient Japan (10 September - 22 November 2009) at the British Museum.
Harvard University
Cambridge, MA
7 November 2009
[courtesy of P. Bloom, 10/15/09]
On Saturday, November 7, 2009, the Department of History of Art and Architecture at Harvard University will present "Early Spring (1072): Multiple Views," a one-day event featuring presentations by eight leading historians of Chinese painting, as well as commentary by special guests Ogawa Hiromitsu and Yoshiaki Shimizu. This workshop, which is sponsored by the Rockefeller Fund for East Asian Art, will bring together these various scholars to discuss the significance of a key work of art—the painting known as Early Spring (1072), which is attributed to Guo Xi. This artwork registers the cultural dynamics of a significant historical moment; thus, the workshop will explore ways of historicizing artworks and will promote exchanges between scholars who make use of markedly different methodologies and perspectives.
- Eugene Wang (Harvard University), Welcome and Introductory Remarks
- Yukio Lippit (Harvard University), Introduction to Ogawa Hiromitsu
- Ogawa Hiromitsu (Tokyo University), "The Chinese Painting Survey and Its Significance"
- Robert Harrist, Jr. (Columbia University)m "Things I Wish I Understood about Early Spring"
- Ping Foong (University of Chicago), "Early Spring and the Song Dynasty's Progenitor Ancestor"
- Charles Hartman (University at Albany—SUNY), "Landscape as Religion, Landscape as Politics: Guo Xi's Early Spring"
- Scarlett Jang (Williams College), "Voices from Early Spring"
- Peter Sturman (University of California, Santa Barbara), "The Rhetoric of Realism"
- Amy McNair (University of Kansas), "Early Spring as 'Landscape of Truth': Xuanhe huapu on Guo Xi"
- Heping Liu (Wellesley College), "Early Spring and the Eleventh-Century Landscape of Ecology"
- Hui-shu Lee (University of California, Los Angeles), "Small Matters: Guo Xi and Xiaojing"
Round Table Discussion: Ogawa Hiromitsu, Yoshiaki Shimizu, Eugene Wang, Yukio Lippit
Each speaker will give a 10-minute presentation, which will be followed by a 20-minute group discussion. There will be no assigned discussants, but Eugene Wang, Yukio Lippit, Ogawa Hiromitsu, and Yoshiaki Shimizu will guide the discussions. Password-protected drafts of the presenters' papers will be available for download from the conference website one week before the event.
All attendees will be provided with a light breakfast, lunch, and tea and coffee throughout the day, and they will be welcomed to join us for a small reception after the workshop.
If you are interested in attending, please contact the workshop coordinator Phillip Bloom by Monday, October 26th.
We very much look forward to sharing with you this opportunity to reexamine a foundational work of Chinese painting.
Sincerely,
Eugene Wang
Timezone 8
Beijing 798
China
7 November 2009
[courtesy of R. Bernell, 11/5/09]
Timezone 8 is pleased to announce that artists Wei Qingji and Wu Yi will speak at Timezone 8 (Beijing 798) on ink painting within the framework of contemporary art discourse. This members only event will take place at Timezone 8 (798) 6:00-7:00pm, Saturday November 7. Canapes and refreshments will be served prior to the talk. Timezone 8's just published monographs Wei Qingji and Wu Yi will also be available for sale and signing.
Born in Qingdao in 1971, Wei Qingji is among the leading "experimental ink painters in contemporary art in China. Trained in ink at Nankai University, Wei Qingji has over the last ten years created a personal aesthetic that in its incongruity of form and content seems ironic, but not crude. While his materials are traditional, their multi-form application and ironic message are anything but. Nor is his work rehashed postmodern pastiche resulting in a signature style. Rather, his "ink experiments" avoid the irony that comes from repetition and stylization. His ouevre resists easy classification as it varies from a stark blank field with graffiti-like brushwork, to a charcoal black ink Matterhorn against a Ruscha-esque Hollywood sky, to a cartoon mise-en-scene line-drawn in a Shanghai modernist "xieyi" style from the 1930s. His works have been included in various prominent exhibitions such as the Second Annual Chengdu Biennale and the International Chinese Ink Painting Exhibition at the Asian Cultural Center in New York. He was one of only two ink artists represented by the renowned curator Hans Van Dijk. He is currently teaching at the College of Art in South China Normal in Guangzhou.
Please RSVP by e-mail or by phone 5978 9076.
Metropolitan Museum of Art
New York, NY
8 November 2009
[from MMA, 9/6/09]
This program highlights the first comprehensive exhibition devoted to the arts of the samurai with a focus on arms and armor from the late Heian period (ca. 1156) through to the end of the Edo period (1600–1868). Speakers include Morihiro Ogawa, curator of the exhibition; Victor Harris, British Museum and The Japan Society; Norio Suzuki, Director-General, National Research Institute for Cultural Properties, Tokyo; and Okisato Fujishiro, Japan's leading sword polisher and connoisseur.
- Morihiro Ogawa, "Art of the Samurai—An Introduction"
- Victor Harris, "The Japanese Sword and the Japanese Aesthetic"
- Norio Suzuki, "Conserving Works of Japanese Art in Foreign Collections"
- Panel discussion (Victor Harris; Morihiro Ogawa; Norio Suzuki; Okisato Fujishiro, Japan's leading sword polisher and connoisseur)
This Sunday at the Met is supported by the Japan Foundation.
Third Annual Conference of Centre for Chinese Visual Arts
Birmingham Institute of Art and Design
Birmingham, UK
9-10 November 2009
[courtesy of M. Törmä, 10/2/09]
The Third CCVA Annual Conference is to be hosted by School of Art, Birmingham Institute of Art and Design. It will provide an interdisciplinary framework for discussion focused on the notions of public space, socially and politically based art, and collective memory. It will examine such issues as definitions of public space; its function in daily life, particularly in China; the role of socially and politically engaged art in the development of public space; public sculptures and monuments; performance art; the role of public art and the visual environment in the creation and revision of collective memories; the ambiguous roles of both artists and viewers as creators and observers of public space; and the use of participatory art projects to encourage new social relationships. The programme of the conference is attached. The conference is free of charge but advance booking is required to secure a place. The School of Art is in the centre of the city, within easy walking distance of both the Museum and Art Gallery and several prominent examples of public art.
MONDAY, 9 NOVEMBER
Chair: John Butler (Birmingham Institute of Art and Design)
- Chris O'Neil (Birmingham Institute of Art and Design), Dean's welcome
- JIANG Jiehong (Birmingham Institute of Art and Design), Introduction: CCVA Annual Conference
- XU Jiang (China Academy of Art), "Public Art for Public Site"
- John Aiken (Slade School of Fine Art), "What Makes Successful Public Space?"
- GAO Shiming (China Academy of Art), "Nowhere, Now Here: From the Suspension of Utopia to Public
Participation"
- YIN Shuangxi (Central Academy of Fine Arts), "The Monument to the People's Heroes"
- Nick Stanley (Leverhulme Emeritus Fellow), "Public Representation of Ethnic Minorities in China in the Past and
the Present"
Discussion and reflection
MONDAY, 9 NOVEMBER
Chair: JIANG Jiehong
- Richard Wentworth (Royal College of Art), "Who Does Private? What Is Public"
- SUI Jianguo (Central Academy of Fine Arts), "17.5°: True Deviation"
- Francois Dupre (Birmingham Institute of Art and Design), "The Practice of Memory and Its Ethics"
- MAO Jianbo (China Academy of Art), "Chinese Painting: An Expression of Memory, from Private to
Collective"
- Sian Everitt (Birmingham Institute of Art and Design), "Archiving Public Art: Public Art as Archive"
- QIU Zhijie (China Academy of Art), "Nanjing Yangtze River Bridge: The Shadow of A Monument"
Discussion and conclusion
If you wish to attend, please contact:
Yanyan Wang
Research Office
Birmingham Institute of Art and Design
tel +44 121 331 7823
LI Jian'an (Archaeology Institute, Fujian Provincial Museum)
Oriental Ceramic Society
Society of Antiquaries
London, UK
10 November 2009
[from Asian Art in London, 9/12/09]
Professor Li will talk about the important underwater excavations he has performed during the last 20 years. Shipwrecks from Southern Song, Yuan and Qing dynasties have been discovered in Fujian, Guangdong and Liaoning provinces. The ceramics carried on these ships, together with findings from kiln excavations carried out since the 1990s, point to the significant role played by Fujian in the East-West commercial and cultural exchange.
Lucille Chia (University of California at Riverside)
University of Michigan
10 November 2009
[from CCS, 9/16/09]
This talk concerns the diffusion of printing in Chinese across the sea in Southeast Asia in the early modern period. Given the vital involvement of the Chinese settlers and sojourners in the commerce and service industries of the Spanish Philippines, it is no surprise that some of them were instrumental in developing the earliest printing and publishing enterprises of the colony in the late sixteenth century. They produced books in Chinese, Japanese, Tagalog, Spanish, and Latin, including religious works published under the auspices of Catholic missionary institutions. Furthermore, books were printed in China and Japan, sometimes specifically for different groups in the Philippines. In particular, the export of popular works published in Fujian and other parts of southern China represents a significant extension of the dissemination of Chinese books that followed the first large-scale overseas Chinese diaspora. By looking at Chinese works printed in or for readers in the Spanish Philippines, we can begin to understand how Chinese book culture adapted to and developed in the presence of other very different non-Chinese cultures and religions.
Lucille Chia is Associate Professor of History at the University of California at Riverside. Her research interests include book culture and printing in imperial China, and the Chinese diaspora in Southeast Asia in the early modern period and its impact on China.
Aspects of Art Lecture 2009
Wu Hung (University of Chicago)
British Academy
10 November 2009
[from British Academy, 11/10/09]
This lecture reflects on traditional Chinese representations of ruins. It questions a presumption shared by many people that ruins existed in both architectural and pictorial forms in traditional Chinese culture. Indeed, a search for ‘ruin pictures’ and ’ruin architecture’ unexpectedly produces very little result. Instead, we discover that the ancient Chinese developed a different system of visual expression to convey the sentiment of huaigu – ‘lamenting the past’ or ‘meditating on the past’ in non-representational fashions. This lecture explores indigenous conception of ruins in Chinese culture through analysing some remarkable paintings by Shitao (1642–1707), arguably one the last great masters of traditional Chinese painting.
Professor Wu is Harrie A. Vanderstappen Distinguished Service Professor in Chinese Art History and Director of the Center for the Art of East Asia at the University of Chicago. He has a PhD from Harvard in early Chinese art and is an elected member of the American Academy of Arts and Sciences. His special research interests include relationships between visual forms (architecture, bronze vessels, pictorial carvings and murals, etc) and ritual, social memory and political discourses.
Lectures in this series are on the relation of art in any of its manifestations, including poetry and music as well as sculpture and painting, to human culture.
41st William Cohn Memorial Lecture
Maggie Bickford (Brown University)
University of Oxford
11 November 2009
[from China Centre, 9/5/09]
Maggie Bickford is a leading scholar on Song painting. Recent publications include: Emperor Huizong and Northern Song Culture: The Politics of Culture and the Culture of Politics (Harvard, 2006); "Emperor Huizong and the Aesthetic of Agency" (Archives of Asian Art vol.53)
Followed by a reception in the new China galleries, Ashmolean Museum.
Mary Hirsch (Independent Scholar)
Princeton University
12 November 2009
[from Tang Center, 9/5/09]
Luisa Mengoni (Victoria & Albert Museum; University College London)
Institute of Archaeology
University College London
12 November 2009
[courtesy of ICCHA, 10/26/09]
The International Centre for Chinese Heritage and Archaeology (ICCHA) invites you to the China Night event on Thursday 12 November 2009. Dr Luisa Mengoni, Curator of Chinese Collections in V&A and Research fellow at IoA (UCL), will give a talk on "Regional interactions and the formation of local identities in western Sichuan and north-western Yunnan (V cent BCE - I cent CE)." The lecture will take place at 5pm in Seminar Room 612, Institute of Archaeology, UCL, and a wine reception will follow afterwards in Staff Common Room (609).
Elizabeth Barber (Emerita, Occidental College)
University of California, Los Angeles
12 November 2009
[from UCLA, 11/4/09]
Local archaeologists working in Chinese Turkestan have uncovered and continue to excavate numerous naturally mummified and spectacularly clothed bodies of Caucasians dating to the Bronze Age, 2500-4000 years ago. Since little was put into the graves besides clothing, Dr. Elizabeth Barber (one of the few experts on prehistoric Old World textiles) was invited to accompany an expedition from the University of Pennsylvania to Western China, to help determine facts about these displaced westerners. Just why, when, and from where did these folk enter the Tarim Basin to become the area's first permanent inhabitants, more than 1500 years before the Chinese established the famed Silk Road from the east? Richly illustrated with photographs taken when she was there, her talk highlights the variety of scientific methods used to unravel these mysteries, and will include some discussion of the mummy exhibit coming to the Bowers Museum in Santa Ana next March.
[part of the panel presentation "Red-Headed Mummies and Indo-European Languages: The Archaeology and Linguistics of Migration in 'Chinese' Eurasia," Lothar von Falkenhausen, discussant]
Honolulu Academy of Arts
24 September 2009 - 3 January 2010
[from HAA, 11/15/09]
12 November
John Szostak (University of Hawai'i), "Mount Fuji in the Art of Japan"
19 November
George Tanabe (University of Hawai'i), "Peaks of Power: Mountain Worship in Japan"
3 December
Willa Tanabe (University of Hawai'i), "Pilgrimage and Tourism on Mount Fuji"
Hong Kong Museum of Art
14 September 2009 - 28 March 2010
[from HKMA, 11/15/09]
13 November
Paul A. Van Dyke (University of Macau), "Junks, Flower Boats and Silk Boutiques — A Few of the Wonders that Await You in Canton" (in English)
21 November
Mok Kar Wing, Maria (Hong Kong Museum of Art), "Shopping in Canton — Regional Art and Crafts" (in Cantonese)
28 November
Cheung Sui Wai (Chinese University of Hong Kong), "Walks in the City of Canton — A Closer View of South China in Trade Paintings" (in Cantonese)
National Museum of Ireland
Dublin, Ireland
14 November 2009
[courtesy of A. Whitty, 11/9/09]
This conference marks the opening of the exhibition, A Dubliner’s Collection of Asian Art: The Albert Bender Exhibition (opening 13 November 2009). The majority of artefacts in this exhibition come from the collection donated to the National Museum in the 1930s by Albert M. Bender (1866-1941). Bender was born in Dublin and emigrated to San Francisco, California as a young man. As a successful businessman and art collector interested in Asian art, Bender donated about 260 artefacts of Chinese, Japanese and Tibetan origin to the National Museum of Ireland in the 1930s. This significant series of donations to the museum during the early years of Irish Independence included rare religious artworks and decorative arts objects in the areas of metalwork, ceramics and wood.
The conference programme consists of a series of talks that explore in more depth some of the themes touched on in the exhibition. Talks cover such diverse topics as the influence of Buddhism in Ireland and the iconography of Arhats.
Speakers
- Patrick F. Wallace (National Museum of Ireland)
- Audrey Whitty (National Museum of Ireland) on on the Albert Bender donations of Far Eastern Art to the National Museum in the context of his cultural interests in Ireland and California
- Yvonne Altman O'Connor (Irish Jewish Museum, Dublin) on the Bender family, their origins and the Jewish community of Dublin in which they lived
- Philip McEvansoneya (Trinity College, Dublin) on Sir William Gregory (1817-1892) of Coole Park, Co. Galway and his involvement with Ceylon where, while he was Governor, the plan to establish a National Museum of Ceylon was brought to fruition
- Lorna Barnes (conservator) on the results of investigations into the authenticity and provenance of two large stoneware funerary urns that are currently on display as part of the Albert Bender exhibition
- Alexandra Durrani (National Museum of Ireland) on sixteen polychrome figures representing military leaders and deities of Chinese religion-- conserved at the museum for the Albert Bender exhibition
- Michael Ryan (Chester Beatty Library)
- Debra Bowden (printmaker) on on how her practice is influenced by Japanese art, in particular Ukiyo-e, and will include a practical carving and printing demonstration
- Ruth Starr (Trinity College, Dublin) on the impact of Japanese art and design on nineteenth- and twentieth-century Irish artists
- Laurence Cox (NUI Maynooth) on the Irish encounter with Buddhism in the late 19th and early 20th centuries, focusing on how Irish soldiers, civil
servants, missionaries and academics disseminated knowledge of Asian Buddhism, how this was reflected by artists and intellectuals and in Irish popular culture, and the remarkable history of the first Irish people to become Buddhists
- John Clarke (Victoria and Albert Museum) on Thangka painting-its origins, techniques and historical development–-as well as focusing in on depictions of the Arhats, the disciples of Buddha
- Joseph Lennon (Manhattan College) on the context of Bender’s gift to the National Museum of Ireland, first providing an overview of Oriental interests in Irish culture, from medieval origin legends to Celtic modernism
Ullens Center for Contemporary Art
Beijing, China
14 November 2009
[from UCCA, 11/15/09]
11: Young Video Artists and Their Experience of Filming
Recent exhibitions of young video artists featuring experimental films have revealed many young artists. As a witness of this phenomenon, UCCA gathers avrt historian Zhu Qingsheng, and Liu Xuguang, Director of the new media art lab of Beijing Film Academy for a dialogue and presentation of young video artist's works.
12: Interactivity in New Media Art
In a time of ever growing interactivity, some people shoot videos for public viewing, and those who watch contribute to increase the influence of video. How do video makers interact with video consumers? What kind of role does new media play on the Internet? Zhu Jinjing will discuss the situation of Chinese contemporary creativity online.
Uta Lauer (Stockholm University)
Museum of Far Eastern Antiquities (Ostasiatiska Museet), Stockholm
15 November 2009
[from MFEA, 11/15/09]
Uta Lauer, professor vid Stockholms universitet, talar om den inre medningen i växt- och blommotiv på kinesiska målningar, keramik och lack.
The Toshiba Lectures in Japanese Art
David Elliott
British Museum
16 November 2009
[from BM, 11/15/09]
David Elliott, former Director of the Mori Art Museum in Tokyo, will speak on the contemporary art scene in Japan and its international context, comparing movements in Japan with the situation in other parts of the world, including China and Turkey.
Organised with the Sainsbury Institute for the Study of Japanese Arts and Cultures.
Wang Zheng (University of Michigan)
University of Michigan
17 November 2009
[from CSS, 9/16/09]
WANG Zheng is associate professor of Women's Studies and History and associate research scientist of the Institute for Research on Women and Gender. A long-term academic activist promoting gender studies in China, she is the director of the UM-China Gender Studies Project, and founder and co-director of the UM-Fudan Joint Institute for Gender Studies at Fudan University, Shanghai. Her English publications concern changing gender discourses and relations in China's socioeconomic, political and cultural transformations of the past century, and feminism in China, both in terms of its historical development and its contemporary activism in the context of globalization. She is the author of Women in the Chinese Enlightenment: Oral and Textual Histories (UC Press, 1999). Her current project is a gender history of the People's Republic of China, exploring the relationship between gender and the socialist state formation, and gender and capitalist transformation. She has edited volumes (both in English and Chinese) on a variety of topics: the constructions of feminist subjectivity in socialist China, the politics and effects of translating feminisms in China throughout the twentieth century, and significance of introducing "gender" into the study of Chinese history as well as into the discursive contentions in contemporary China.
Jung-a Chang (University of Incheon)
University of Pennsylvania
17 November 2009
[from CEAS, 11/14/09]
Recently there has been a movement to protect cultural heritage and traditional culture in China. I examine this process through archival and interview-based research. I will show how diverse purposes and voices have been absorbed by a national project to protect the "great cultural heritage of China." The movement was initiated not only by the government whose main interest was to find a new resource for the national unity and propagation of the Chinese culture, but also by the academic and public who came to be interested in the intangible cultural heritage mainly due to the "Duanwujie" controversy with Korea in 2004. The fever and movement seemed to constitute a part of diverse projects related with a revival of "nationalism of the Great Chinese Nation." I try to focus on the relation of the cultural nationalism and this movement as well as the chasm and controversies inside the movement. I will compare this process in mainland China with the popular interest in the "collective memory and cultural heritage" in Hongkong. The two cases have very different implications especially regarding national identity, albeit the seemingly similarity in discourse and the movement of two governments.
Franck Goddio (European Institute for Underwater Archaeology)
University of Oxford
18 November 2009
[from China Centre, 11/12/09]
The Oxford Centre for Maritime Archaeology works closely with the underwater archaeologist Franck Goddio and is going to be involved in the publication of several of his shipwreck excavations with their cargoes of Chinese porcelain and other materials from the South China Sea over the next few years.
Chen Hao (Xu Beihong School of Arts, Renmin University)
Denver Art Museum
18 November 2009
[from DAM, 11/15/09]
Using traditional techniques to present contemporary urban landscapes, as opposed to age-old rural scenes, Chen Hao will show why his work is widely collected in China and around the world. A demonstration and paintings accompany the lecture.
Solomon R. Guggenheim Museum
New York, NY
18 November 2009
[from Guggenheim, 11/15/09]
Fifty-five years have passed since the Gutai Art Association (Gutai) was founded in Ashiya, Japan, west of Osaka, in 1954. The group’s aspiration to "present gutai-teki (concrete) proof that our spirit is free" resulted in an amazing body of work, ranging from gestural abstraction to performances, outdoor and indoor installations to Conceptual art. Already in the 1950s, Gutai’s work prefigured many of the newest and most important tendencies of 1960s art. Their radical experimentalism was enabled and disseminated by leader Yoshihara Jirô’s engagement with the international art world. Using his extensive library and connections, he kept the group in dialogue with artists internationally, even bringing the group’s journal Gutai to the library of Jackson Pollock, among others. Today, as the contemporary art world becomes more globalized, Gutai’s transnationalism feels even more compelling and relevant than before. In the panel, art historians working at the forefront of Gutai scholarship will explore Gutai’s transnationalism in a "concrete" manner.
Moderator: Alexandra Munroe (Solomon R. Guggenheim Museum)
Participants: Paul Jenkins (artist); Ming Tiampo (Carleton University); Judith Rodenbeck (Sarah Lawrence College); Reiko Tomii (independent scholar and curator, and cofounder of PoNJA-GenKon)
With support from the Japan Foundation and the Pollock-Krasner House and Study Center, East Hampton, New York, this program is conceived by PoNJA-GenKon in conjunction with "Under Each Other's Spell": Gutai and New York, on view at New Jersey City University’s Harold B. Lemmerman Gallery through Dec 16.
David Ake-Sensabaugh (Yale University Art Gallery)
Yale University Art Gallery
18 November 2009
[from YUAG, 11/16/09]
Paul D. Barclay (Lafayette College)
University of Michigan
19 November 2009
[from CSS, 9/16/09]
In the 1870s, Japanese statesmen justified the occupation of Taiwan's Hengchun by asserting that Qing sovereignty ended abruptly at a hypothetical boundary line separating Chinese villages and fields from Indigenous population centers. The notion that Taiwan was ethnically bifurcated into discreet territories reasserted itself when Japan assumed the mantle of government in 1895. Notwithstanding this crude but persistent conception of Taiwan's human geography, 1890s Japanese travel accounts revealed the existence of a Han-Malay contact zone of unknown proportions. Here, ethnically hybrid "interpreters" and "headmen" held sway. Photographs of tattooed Indigenous women wearing combinations of Chinese and Atayal garments symbolized this contact zone, constituting the most frequently reproduced postcard images of the "savage district." As the Japanese state transformed this unruly contact zone into a manageable boundary line, photographs of Indigenous women were shorn of indicators of Han affiliation. By the 1930s, the borderland hybrid was revived with photographs of Indigenous women in Japanese attire. Colonial photography thus participated in the redefinition of Taiwan along the axis of Japanese temporality, presenting an erstwhile Qing borderland as a primordial site for the infamous assimilation policies known as "imperialization."
Paul D. Barclay is Associate Professor at Lafayette College. He received his PhD from the University of Minnesota in 1999. Professor Barclay's research focuses on Japanese colonialism in Taiwan. His articles appear in Humanities Research, Journal of Asian Studies, and Japanese Studies, among others. Barclay is general editor of the Gerald Warner Taiwan Image Collection.
Zhang Min (Nanjing Museum)
National Palace Museum
Taipei, Taiwan
19 November 2009
[from NPM, 11/15/09]
Rui Oliveira Lopes (University of Lisbon)
Museu do Oriente
Lisbon, Portugal
20 November 2009
[from Museu do Oriente, 11/15/09]
A pintura de paisagem tem, na arte chinesa, uma tradição ancestral que remonta ao século V da nossa era. Desde as primeiras representações simbólicas e artísticas que a natureza desempenha um papel fundamental sustentada em motivações religiosas, metafísicas, filosóficas e artísticas. A partir do século VI, os artistas chineses desenvolveram um conjunto de teorias em torno da pintura de paisagem e das técnicas artísticas. Porém, apesar de existir uma longa tradição da pintura de paisagem apenas a partir do final da dinastia Ming e início da dinastia Qing, após a chegada dos Europeus à corte imperial chinesa é que as técnicas da perspectiva linear foram apresentadas aos artistas chineses.
Munk Centre for International Studies
University of Toronto
20-21 November 2009
[from Toronto, 11/14/09]
An interdisciplinary workshop on the political economy of architecture and urbanism in contemporary China sponsored by: The Asian Institute; Cities Centre; John H. Daniels Faculty of Architecture, Landscape, and Design; University of Toronto Mississauga; Richard Charles Lee; Canada-Hong Kong Library
FRIDAY, 20 NOVEMBER
Circus
- Raoyun BAO (University of Toronto), "Staging CCTV: Spectacles, Scandals, and New Media in China"
- Xuefei REN (Michigan State University, "Beijing after 2008: From 'Spectacular City' to 'Ordinary City'"
- Matthias PAUWELS (BAVO), "Fear and Loathing in China: Architecture, Politics and Ethics in the Age of Globalized Architecture"
- Jianfei ZHU (University of Melbourne), "Global Interactions and Issues of Criticality: Notes on China and its Recent Architecture"
Discussant: Ute Lehrer (York University)
Discussant: Eric Cazdyn (University of Toronto)Conspiracy
- Akbar ABBAS (University of California, Irvine), tba
- Yung Ho CHANG (Massachusetts Institute of Technology), "The Necessity of Banality: Plans for a Post-euphoria Architecture in China"
- Tong LAM (University of Toronto), "The Second Cultural Revolution: History and Architectural Spectacle in Neoliberal China"
- Anne-Marie BROUDEHOUX (University of Quebec at Montreal), "Landscapes of Power: Architecture and Spectacle in Post-Olympic Beijing"
Discussant: Rodolphe el-Khoury (University of Toronto)
Discussant: Kajri Jain (University of Toronto)
SATURDAY, 21 NOVEMBER
Underpass
- MENG Yue (University of Toronto), "Multi-level Overpass: 'An Ambiguous Question Mark Sleeping in the Midst of Epoch' 1"
- WANG Ban (Stanford University), "Photography, Cityscape, and Traces of History"
- Laurent GUTTIEREZ (Hong Kong Polytechnic University), "Bloody Haze: Urban Spectacle in Post (socialist) China and Other Illuminations (By Gutierrez + Portefaix)"
- Adrian BLACKWELL (University of Toronto), "China’s Urban Unconscious"
Discussant: Thomas Lahusen (University of Toronto)
Discussant: Mary Lou Lobsinger (University of Toronto)Roundtable discussion
Ueno no Yama Bunka Zone Festival Lecture
Takahashi Yuji (Tokyo National Museum)
Tokyo National Museum
21 November 2009
[from IPPA, 9/6/09]
Sui Jianguo
Today Art Museum
Beijing, China
21 November 2009
[from Today, 11/15/09]
Sui Jianguo is one of the most important contemporary artists. His art practice absorbs energy from academic realism and breaks the tradition limits. From shaping the physical material to discussing the existence of the abstraction, he sets up a new emotion expression way, and expands a new field in Chinese sculpture practice. Sui will share his achievement in the field of sculpture in this lecture.
Artists' Talk and Book Launch
Sun Yuan and Peng Yu
Ullens Center for Contemporary Art
Beijing, China
21 November 2009
[from UCCA, 11/15/09]
In conjunction with the exhibition Breaking Forecast, UCCA invites the collaborative duo formed by artists Sun Yuan and Peng Yu to present their concept and practice. At the same time, the artists will be in dialogue with the initiators, publishers and writers of newly launched book Can't Have it All, and explore the art work they have created within the past 10 years.
Published by Timezone 8 and Tang Contemporary Art, Can't Have it All is a 250-page monograph designed by cutting edge designer Guang Yu from Mewe. The book contains complete documentation of their oeuvre featuring more than 30 installations, performances and interactive environments.
An International Symposium Hosted by the UCLA Cotsen Institute of Archaeology
University of California, Los Angeles
21-22 November 2009
[from UCLA, 11/14/09]
Lloyd Cotsen’s mirror collection is comprised of 97 mirrors, all but five of which were made in China. The earliest mirror dates to the Qijia culture (ca. 2100–1700 BCE). The latest Chinese mirror dates to the Jin dynasty (1115–1234 CE) though there are mirrors in the collection that were manufactured outside China that have a later date. Each mirror in the collection is of cast bronze—some with elaborate designs and others that have been inlaid, lacquered, or painted. The mirrors in the Cotsen Collection exemplify the mastery of bronze casting and surface decoration achieved by the artists of early China.
SATURDAY, 21 NOVEMBER
Lothar von Falkenhausen (UCLA), Introduction
Keynote Lecture: Zhou Ya (Shanghai Museum), "Methods of Using Bronze Mirrors Attested in Archaeological Evidence"
Panel 1
Chair: David Schaberg (UCLA) - Lan-ying Tseng (Yale University), "Positioning the Heavenly Horses: Cardinal Emblems and Mirror Decoration in Han China"
- Charlotte Horlyck (School of Oriental and African Studies, University of London), "Questioning the Role(s) of Chinese Mirrors in Early Korea"
Discussant: Guolong Lai (University of Florida, Gainesville)Panel 2
Chair: John Hirx (Los Angeles County Museum of Art)
- David Scott (UCLA), "The Cotsen Collection: Chinese Bronze Mirrors, Virtual and Real"
Discussant: Ioanna Kakoulli (UCLA)Panel 3
Chair: Dominic Cheung (University of Southern California)
- Hanmo Chang (UCLA), "A Theatric Design on a Chinese Bronze Mirror in the Cotsen Collection"
- Suzanne Cahill (University of California, San Diego), "Vehicles and Clothing Depicted in Chinese Bronze Mirrors of the Han through Tang Dynasties"
Discussant: Guolong Lai
SUNDAY, 22 NOVEMBER
Panel 4
Chair: Donald F. McCallum (UCLA)
- Susanna Lam (UCLA), "Persian Influences in Sui and Tang Bronze Mirrors"
- Mimi Hall Yiengpuksawan (Yale University), "A Cult of Mirrors at the Heian Court in Liao Perspective"
Discussant: Guolong LaiPanel 5
Chair: John E. Wills, Jr. (University of Southern California)
- Ma Jinhong (Shanghai Museum), "Some Thoughts on Bronze Mirrors with wuyue (Five Mountains) Motif"
- Li Min (UCLA), "Gifts to the Emperor: A Bronze Mirror as a Pedagogical Device in Tang and Song China"
Discussant: Guolong LaiLothar von Falkenhausen, Concluding Remarks
The symposium will be held in Royce 314 on the UCLA campus. The nearest parking lot is Lot 5. Parking is $10 per day. For more information, visit www.transportation.ucla.edu. For questions, please contact the Cotsen Institute of Archaeology at (310) 794-4837 or e-mail laural@ioa.ucla.edu.
Sofia Sanabrais (Los Angeles County Museum of Art)
Denver Art Museum
22 November 2009
[from DAM, 11/15/09]
Sofia Sanabrais, assistant curator of Latin American Art at the Los Angeles County Museum of Art, examines the Japanese presence in colonial Mexico and the introduction of the folding screen. Curiosity about Japan in New Spain peaked during the late 16th and 17th centuries. While the modern immigration of the Japanese to the Americas that began in the late 19th century after the reopening of Japan to the West has received scholarly attention, considerably less is known about the Japanese colonial diaspora.
Following the lecture, Sanabrais—along with DAM curators Donna Pierce and Ron Otsuka—will sign copies of Asia and Spanish America: Trans-Pacific Artistic and Cultural Exchange, 1500–1850, Papers from the 2006 Mayer Center Symposium.
Eric Tagliacozzo (Cornell University)
University of Pennsylvania
23 November 2009
[from CEAS, 11/14/09]
Ma Qingyun (MADA s.p.a.m.)
Reed College
Portland, OR
23 November 2009
[courtesy of L. Claypool, 11/18/09]
After practicing architecture with Kohn Pedersen Fox Associates in New York City, Ma founded the Shanghai architectural firm MADA s.p.a.m. (for strategy, planning, architecture and media) in 1996, creating award-winning projects such as the Longyang Residential complex in Shanghai and the Silk Tower in Xian. He collaborated with Rem Koolhaas on the Central China TV headquarters in Beijing and on the Stock Exchange Building in Shenzhen as well. On Monday he speaks on his recent work, including the structures featured in the China Design Now exhibition--Father's House and the Well House at Jade Valley.
Margaret Hillenbrand (University of Oxford)
University of Oxford
26 November 2009
[from China Centre, 11/12/09]
Francesco Sisci (La Stampa)
Ullens Center for Contemporary Art
Beijing, China
29 November 2009
[from UCCA, 11/15/09]
What traditional Chinese qualities do Chinese artists bring to oil painting, and how do modern Chinese artists experiment with the genre? These questions will be debated by Francesco Sisci, moderated by Lucy Hornby (FCCC).
19th Congress
Vietnam Academy of Social Sciences
Hanoi, Vietnam
29 November - 5 December 2009
[from IPPA, 10/18/09; papers/panels relating to visual culture listed below]
Co-organised with the Vietnam Academy of Social Sciences and the Vietnam Institute of Archaeology
Sponsors: Indo-Pacific Prehistory Association (with administrative support from the Australian National University, Canberra); Vietnam Academy of Social Sciences (Hanoi); Vietnam Institute of Archaeology (Hanoi); Wenner-Gren Foundation for Anthropological Research (New York); Granucci Fund for Archaeology in Indonesia and Timor Leste (Australian National University, through IPPA); Luce Foundation (via the University of Pennsylvania Middle Mekong Archaeological Project).
Sessions are as follows, grouped under 4 generalised headings:
A. Themes related to Pleistocene culture and evolution.
B. Themes related to the archaeological record during the Holocene (geographical or chronological foci).
C. Themes with thematic or disciplinary (comparative, social, biological, environmental) foci.
D. Themes related to heritage management management, education, and the development of archaeology as a discipline.
B2. Recent Advances in the Archaeology of South and Southeast China
Tianlong JIAO (Bishop Museum, Honolulu) and Chunming WU (Xiamen University)
Over the past decade, a series of new archaeological discoveries have significantly changed understanding of ancient south and southeast China. The applications of techniques such as stable isotope analysis in the study of human bones, and studies of marine shells and stone tools, have generated new information for rethinking key issues in the prehistory of this region. This panel examines a number of these new finds from a different theoretical and regional perspectives, and highlights some of the collaborative research among scholars from mainland China, Taiwan, Hong Kong, and the United States.
- Chunming WU, "Ethnicity and material culture: a perspective from prehistoric south China"
- YANG Cong (Fujian Museum), "The rise and fall of Minyue: new archaeological evidence from Fujian, China"
- Francis Allard (Indiana University of Pennsylvania), "The spatial distribution and depositional contexts of early bronzes in South China"
- Xuechun FAN (Fujian Provincial Museum) & SU Wenjing (Fuzhou University), "New investigations into the prehistoric maritime cultures in southeast China"
- Kevin Sun (AMO, Hong Kong), "Exploring craft specialization in Bronze Age Pearl River Delta: evidence from stone moulds"
- Weimin GUO (Hunan Provincial Institute of Archaeology), "Social complexity in the late Neolithic Middle Yangtze River: new evidence from Liyang Plain"
- Zhengfu GUO (Chinese Academy of Sciences) & Tianlong JIAO, "Sourcing the Neolithic stones adzes in southeast China: new geochemical evidences from the Tianluoshan site"
- Sascha Priewe (Oxford University), "Interpreting enclosures: from the British Iron Age to late Neolithic China"
B3. Later Prehistory of Yunnan
Aedeen Cremin, (School of Archaeology and Anthropology, ANU) and Li Kunsheng, (Archaeology, Yunnan University)
The term Yunnan covers a varied region with strongly marked physical characteristics. The aim of this session is to define some broad cultural parameters, covering the times from first farming through to the historic period. We would welcome input from a range of disciplines, including archaeology and bioarchaeology, ethnography, geology, historical geography, hydrology, and palaeoecology.
- Chen Guo (Yunnan University), "The tombs of the Neolithic cultures of Yunnan"
- Elizabeth Moore (SOAS, University of London), "Myanmar bronzes and the Dian cultures of Yunnan"
- Emma C. Bunker (Asian Department, Denver Art Museum), "The Dongson dilemma: cultural caution vs commercial confusion and more!"
- JI Xueping (Yunnan Institute of Cultural Relics and Archaeology) and MA Juan (Lincang Institute of Cultural Relics and Archaeology), "Rock art sites along Lancang River (upper tributary of the Mekong River), Southwest Yunnan Province, China"
- Kanji TAWARA (Cyber University, Japan), "Han tombs in Yunnan"
- Leon SHIH (University of Sydney), "Iconography of the Dian cowrie-containers"
LI Kunsheng (Yunnan University), "The Drums of Dian"
- Paul S.C. Taçon (Griffith University), LI Gang (Diqing Tibetan Autonomous Prefecture Cultural Relics Administration Office), YANG Decong (Yunnan Institute of Cultural Relics and Archaeology, Kunming), Sally K. May Australian National University), Maxime Aubert (Australian National University), Liu HONG (Yunnan Institute of Geography), JI Xueping (Yunnan Institute of Cultural Relics and Archaeology), Darren Curnoe (University of New South Wales) and Andy Herries (University of New South Wales), "The age and cultural significance of Jinsha River naturalistic rock art, northwest Yunnan Province, China"
- Po-yi CHIANG (School of Archaeology and Anthropology, ANU): Han cultural and political influences in the transformation of the Shizhaishan cultural complex"
- Trinh Sinh (Institute of Archaeology, Ha Noi), "Bronze casting in North Vietnam and Yunnan: a comparative study"
- Tzehuey CHIOU-PENG (Illinois), "Typological and technological issues of bronze kettledrums from Dian sites"
- Nataliya Polosmak and Evgeniy Bogdanov (Institute of Archaeology & Ethnography, Novosibirsk, Russia), "The northern affinites of the Dian Culture"
- WANG Xibo (Yunnan University), "Yunnan blue and white ceramics and its connections with Vietnamese ceramic production"
- YANG Bin (National University of Singapore), "Cross-regional cultural dynamics in early Yunnan: the cases of cowrie shells and Tantric Buddhism"
- Zhao Mei (Yunnan University), "A brief study of jade from Vietnam"
B4. Archaeology without Borders in Mainland Southeast Asia
Rasmi Shoocongdej (Silpakorn University, Bangkok) and Masanari Nishimura (Kansai University, Osaka)
New archaeological discoveries are made every year in Southeast Asia, and this session will bring together archaeologists from different countries and with different research traditions, approaches and interests to share their information on the current state of Southeast Asian prehistory and early history. This session will highlight the results of the most recent archaeological research in mainland Southeast Asia as well as several collaborative projects between universities and archaeological institutes within the region (e.g., Cambodia-Laos-Vietnam, Thailand-Cambodia, Thailand-Malaysia, Thailand-Vietnam). Current archaeological discourse in Southeast Asia is still locally oriented and mostly published in the local languages with short summaries in English, and we have generally been frustrated by the lack of communication between Southeast Asian and foreign archaeologists. Therefore, it is necessary to consider research results in a wider regional context since the social and cultural developments of this region are not fully understandable within the context of a single country only; our session thus takes into account broader patterns and relationships across the borders. We welcome presentations of regional archaeological studies in mainland Southeast Asia, including issues or problems relating to technological innovations/developments (e.g., ceramic, lithic and metal production), subsistence and economy (e.g., exchange, long distance trade), socio-political organization, settlement patterns, etc. We hope that the papers will provide new insights into the prehistory and early history of Mainland Southeast Asia.
- Xie Guangmao (Guangxi Institute of Cultural Relics and Archaeology, Nanning), "New Neolithic discoveries in Guangxi, South China
- Trinh Sinh (Institute of Archaeology, Vietnam), "Exchanges of Dongson Culture in Southeast Asia and South China"
- Brigitte Borell (Germany), "The Han period glass dish from Lao Cai, Vietnam"
- James W. Lankton (University College London), Bunchar Pongpanich (SuthiRatana Foundation, Thailand) and Bernard Gratuze (Institut de Recherche sur les Archaeomateriaux, CNRS, France), "Chinese Han period glass cup fragments in peninsular Thailand"
B7. From Land to Ocean: Integrated Research on Asiatic Trade Networks and Maritime Landscapes in China
Li Min (UCLA) and Li Jian’an (Fujian Provincial Museum)
This panel covers a broad range of topics, ranging from ceramics analysis, to studies of ports and islands sites, to underwater explorations conducted in China. Operating in a social archaeology framework, the presenters attempt an integrated approach to the archaeological study of maritime trade, connecting recent works on ceramic production, port cities and shipwrecks with societies of consumption around the East and South China Sea. In an effort to crosscut boundaries of terrestrial and underwater, historic and prehistoric, lab. and field archaeologies, these research projects contribute to a comprehensive understanding of the production and movement of major categories of commodity which helped to shape the traditional Asiatic trade network.
- Cao Jianwen (Jingdezhen Ceramics College), "The formation of the Asian trading network and the production of Jingdezhen export porcelain in Ming Dynasty"
- Cheng Huansheng (Fudan University)
- Donna Arriola (University of the Philippines), "From open firing to kilns: the case of Manila Ware and other Philippine ceramics of Chinese ancestry"
- Li Jian’an (Fujian Provincial Museum), "Shipwrecks, ports, and kilns: Archaeological research on the production, trade, and consumption of Fujian export ceramics"
- Li Min (UCLA), "Archaeology of Asiatic trade networks and maritime landscapes: towards an integrated approach in Chinese archaeology"
- Liang Baoliu (Hong Kong City University)
- Liu Qing (School of Archaeology and Museology, Peking University), "From Southeast Asia to East Asia: A study on kendis"
- Qin Dashu (Peking University), "Srivijaya: The centerport of the Indian Ocean trade circle"
- Shen Yueming (Zhejiang Provincial Institute of Archaeology)
- Wu Juan (Jingdezhen Ceramics College)
- Yang Zhishui and Yuan Jian (Institute of Literature, Chinese Academy of Social Sciences), "Ethnographic and historical perspectives on the aloeswood trade in Hainan island"
- Zhang Wei (National Museum of China)
- Zhu Jian (Graduate University of the Chinese Academy of Sciences), "Analytical techniques and provenance research of Chinese export porcelain"
C12. The Development of Complex Society in Ancient China: From Early Villages to Early States
Li LIU (La Trobe University, Melbourne) and Xingcan Chen (Institute of Archaeology, Beijing) and Li LIU (The University of Science and Technology of China)
- LI Xinwei (Institute of Archaeology, Chinese Academy of Social Sciences), "The emergence of exchange network of sacred knowledge around 3300 BC in eastern China"
- FANG Hui (Shandong University), "Cinnabar in Neolithic and Early Bronze Age China: a perspective on ritual and power"
- JING Zhichun (University of British Columbia), "Power relations and strategies in the creation of the Shang city in Anyang"
- Schepartz, Lynne (Florida State University), S. Miller-Antonio (California State University at Stanislaus) and Fang Hui (Shandong University), "Ritual, Shang identity and social complexity at Daxinzhuang: A Middle-Late Shang (1300-1100 BC) site in Shandong Province"
- HUNG Ling-yu (Washington University in St. Louis) & CUI Jianfeng (Peking University), "A preliminary investigation of pottery production and emerging social hierarchy in late Neolithic Liuwan, Qinghai, NW China"
- MIN Rui (Yunnan Provincial Institute of Cultural Relics and Archaeology), "Excavation of the Haimenkou site in Jianchuan, Yunnan"
- Li Min (University of California, Los Angeles), "The archaeological landscape at the Bronze Age city of Qufu"
-SUN Zhouyong (Shaanxi Provincial Institute of Archaeology), "Investigation of pottery production in the Western Zhou Dynasty"
C14. From Complex Societies to State Formation in the Japanese Archipelago and Korean Peninsula
Daeyoun Cho (Department of Archaeology and Cultural Anthropology, Chonbuk National University, Korea)
The Bronze Age and State Formation Period in the Japanese Archipelago and Korean Peninsula was a time of great economic, social and political transformation. In recent years, there have been a number of archaeological discoveries and research which shed new light on the nature of this change from complex to state-level societies in this region. This session presents recent works on the following topics: burial practices, subsistence economy, settlement patterns, human activity within the landscape, craft production and consumption, and the exchange of materials. The aim of the session will be to consider the issue of socio-political transformation in ancient Japan and Korea, as well as interaction between the two cultures, from a new perspective, and thus present a new direction for future research.
- Daeyoun Cho, Hyun Jeong, Kyeonghee Lee (Chonbuk National University), "Pottery production and social transformation during the Korean Neolithic and Bronze Age"
- Minkoo Kim, Hyena Yun, Kyongsuk Kwon (Chonnam National University), "Archaeobotany of Pyeonggeo-dong, Jinju, South Korea"
-Tomoko Ishida (Kyushu University), "Inter-communal relations and their transformation as seen from the Yayoi pottery of the northern Kyushu region"
- Kazuo Miyamoto (Kyushu University), "State formation process of DongYI Area viewed from the Interaction sphere in East Asia"
- Kunihiko Wakabayashi (Doshisha University Historical Museum), "The nature of complexity in Yayoi settlements and tombs, Japanese early agricultural society"
- Ari Tanizawa (Kyushu University), "The exchange system of Late Yayoi period northern Kyushu of Japan as seen from glass beads"
- Sung-joo Lee (Kangnung National University), "Technological innovation and craft-specialization in ceramic production of the Proto-three Kingdom Period"
- Jun'ichiro Tsujita (Kyushu University), "The transformation of the mortuary ritual in the 'peripheral' area in the Japanese archipelago from 4th to 5th centuries"
- Koji Mizoguchi (Graduate School of Social and Cultural Studies, Kyushu University), :The centralization of power and the generation of the transcendental: a network approach to the Kofun (mounded tomb) period of Japan"
C21. Megaliths, Myth and Astronomy
B. M. Kim (Korea Institute of Heritage) and K. P. Rao (University of Hyderabad)
The world wide distribution of megaliths is well known. These imposing monuments are always surrounded by various myths. Though, some of the myths are just fables, there are numerous myths which contain rich information to understand the reason behind the monuments, their origin, migration of the practices, content in the burials etc. The similarity in the myths and beliefs connected to pygmies, heroes, rice cultivators and urn users are common in parts of South, Southeast and East Asia. In some regions the megaliths are considered as spirit houses whereas at other places they are considered as memorials. The ethnographic data is very valuable in solving some of the problems like the migration of the practices/people, and it provides a window to understand the mind of the megalithic practitioners. The megaliths follow specific orientations. Orientation of the port-hole, burial pit, alignments and avenues are fixed largely on the basis of observations of the sun and the stars. Some of the cup-marks found on the megalithic monuments in South Asia and East Asia are known to depict the constellations. Some of the megalithic "alignments" are known to align with the rising and setting sun on the days of solstice. The astronomical relation of the megalithic monuments with celestial objects is a developed science in Europe. It is time that such studies were carried out in Asia also. The session primarily aims at collating the ethnographic data on the myths and the astronomical aspects of the megalithic monuments from Asia with a view to reading the "Megalithic Mind."
- Ha Moon sig (Sejong University Department of History), "The Dolmen Cult of Northeast Province in China"
- Hiragori Tatsuya (Pusan National University Museum), "The features of Japanese dolmens"
Wu Hung (University of Chicago)
Columbia University
New York, NY
30 November 2009
[from Art History, 9/7/09]
Mary Ann Ray (University of Michigan)
University of Michigan
1 December 2009
[from CCS, 9/16/09]
Caochangdi: Beijing Inside Out--Farmers, Floaters, Taxi Drivers, Artists, and the International Art Mob Challenge and Remake the City is a recently published book focusing on Caochangdi - one of nearly 500 urban villages in the city of Beijing. Caochangdi tells a specific story about itself and its 4,000 to 7,000 mostly illegal residents, but it also has embedded within it both the problems and the possibilities of a new urban space redefining the city of Beijing (and other Asian cities) at the pivotal point in human history where cities make up 50% of the population of the world. The range of inhabitants includes an illegal rural migrant cook for a sewer construction crew to world renowned contemporary artist Ai Weiwei.
Mary Ann Ray is the Taubman Centennial Professor of Practice at the University of Michigan. Together with Robert Mangurian, she is a Principal of Studio Works Architects in Los Angeles, a co-founder of BASE Beijing in the Urban Village of Caochangdi in Beijing. Mangurian and Ray are architects, authors, and designers, and were awarded the Chrysler Design Award in 2001 for Excellence and Innovation in an ongoing body of work in a design field. In 2008, they were awarded the Stirling Prize for the Memorial Lecture on the City by the Canadian Centre for Architecture and the London School of Economics. Mangurian and Ray's current interests have led them to work on urban change in China, especially as seen in Urban Villages such as Caochangdi and the potential for change in the New Socialist Countryside and Villages.
Laura Miller (Loyola University Chicago )
University of Pennsylvania
2 December 2009
[from CEAS, 11/14/09]
Through discussion of a broad spectrum of graphic images taken from Japanese conduct literature, Laura Miller will reflect on one of the simplest, yet most effective means for shaping our ideas of propriety. Public service posters, funny comics, and clever illustrations in manuals and magazines have a way of capturing our attention and getting their message across immediately. Eye-catching images can slip into the public imagination in ways that make us forget that there ever was an author, a publishing house, or a government agency behind them. In addition to their surface humor, each graphic image frames culture and subculture, location, actors, and the desired interaction.
Karen Fraser (Santa Clara University)
University of Michigan
3 December 2009
[from CJS, 9/16/09]
This talk examines a range of gendered social practices connected to portrait photography in the second half of the Meiji period (1868-1912). Portraiture was one of the earliest and most widespread genres of photography in nineteenth century Japan. High prices and limited availability of both the necessary equipment and skilled photographers meant that only foreigners, the wealthy, or the well-connected had portraits made in the 1860s. However, by the late 1870s there were literally dozens of portrait photographers in Tokyo alone, and studios were found even in rural areas by the end of the century. Gender figured not only in the formal qualities of portrait photos, but in their functions as well. From miai (arranged marriage) to beauty contests to commemorating the war dead, portrait photographs revealed striking gender differences in their varied uses. Focusing especially on the intersection of portrait photography with print media and on portraits of women, the speaker explores the role of gender in portraiture and its connection to constructions of cultural identity.
Karen Fraser teaches in the Department of Art and Art History at Santa Clara University. Her research focuses on modern Japanese visual culture, particularly photography production and reception within Japan; the role of early photographic books in cultural exchange; and the relationship of photography to class, gender, and national identity.
Elsley Zeitlyn Lecture in Chinese Archaeology and Culture 2009
Jan Stuart (British Museum)
British Academy
3 December 2009
[from British Academy, 11/12/09]
In Imperial China, marking the passage of time was an essential theme in the choice of imagery used on many types of art object, including scroll paintings and decorated porcelains. This was especially true of flowers, which have often been analyses in terms of their value in forming auspicious rebuses, but to the neglect of their special significance in marking festivals and annual or monthly rituals that charted the calendrical cycle and invited the good will of the spirit world. Attending to the seasonal functions of art objects, used by many levels of society, helps us understand how the visual arts were folded into the abiding rhythms of nature and human culture in China.
Jan Stuart has been Keeper of the British Museum's Department of Asia since October 2006 and before that was a curator of Chinese art at the Freer Gallery of Art and Arthur M. Sackler Gallery, which together constitute the national museum of Asian art in the United States and are part of the Smithsonian Institution. Her most recent project at the British Museum has been overseeing a new permanent display for Chinese ceramics - the Sir Percival David Collection gallery, part of the Museum's new Sir Joseph Hotung Centre for Ceramic Studies.
This lecture series, established through a bequest from Myrtle Henrietta Zeitlyn in memory of her father, Elsley Zeitlyn, supports the understanding and appreciation of Chinese archaeology and culture.
Christophe Marquet (Inalco)
Musée Guimet
Paris, France
3 December 2009
[from Guimet, 11/15/09]
Les Ôtsu-e, ou «images d’Ôtsu», sont un genre de peinture populaire qui se développa au Japon à l’époque d’Edo, à partir du XVIIe siècle. Vendues aux pèlerins et aux voyageurs au relais d’Ôtsu près de Kyôto, ces images anonymes au style enlevé puisèrent d’abord dans l’iconographie bouddhique, avant de devenir des peintures profanes à caractère auspicieux ou satirique. Longtemps oubliées, elles furent redécouvertes dans les années 1920 grâce au mouvement de défense des « arts populaires » (mingei) et elles ont été l’objet depuis de nouvelles interprétations. Cette conférence retracera l’histoire et interrogera le sens de cette imagerie japonaise encore mal connue en Occident, où se côtoient figures divines et démoniaques issues des croyances populaires.
Robert Mowry (Harvard University)
Detroit Institute of Arts
3 December 2009
[from DIA, 11/15/09]
Robert Mowry, curator of Chinese art at the Arthur M. Sackler Museum, Harvard University, will show how early Ming patronage of porcelain production elevated blue-and-white wares to the luxury status that made them globally desirable. In addition, he will explore similarities between Yuan and Ming porcelains, lacquers, metalwork, and woodblockprinted books.
Raja Adal (Harvard University)
Harvard University
4 December 2009
[from RJIS, 9/12/09]
Discussion moderated by Andrew Gordon (Harvard University).
Maison de la culture du Japon à Paris
Paris, France
4-5 December 2009
[from MCJP, 11/15/09]
Bien que la photographie japonaise soit une référence à l’échelle mondiale, elle est par bien des aspects encore largement méconnue en Occident. Le but de ce colloque, qui rassemble les principaux spécialistes de la photographie japonaise en France et des chercheurs étrangers de premier plan, est d’essayer de retracer au sein de l’histoire les différents facteurs économiques, sociaux et esthétiques qui ont permis son développement.
FRIDAY, 4 DECEMBER
Session 1: L’objet photographique
- Claude Estèbe (Lhivic/EHESS), "Garasu shashin: la photographie sur verre, un objet photographique japonais"
- Tim Clark (British Museum), "Albums photographie et muséographie le cas du British Museum"
- Xavier Martel (Musée français de la photographie), "La photographie japonaise aux Salons internationaux d’art photographique de Paris (1926-1939), l’exemple du picto-modernisme"Session 2 : L’émergence d’une économie
- Morihiro Satô (Kyoto Seika University), "La photographie amateur dans les années 1910: implications politiques et sociales"
- Sandrine Dalban-Tabard (Inalco), "Quelle place pour la photographie dans le Japon des années 1920? Le cas du Centenaire de la photographie"
SATURDAY, 5 DECEMBER
Session 3: Le regard critique
- Ryûichi Kaneko (Tokyo Metropolitan Museum of Photography), "La photographie d’avant-guerre: perspectives de recherche"
- Toshiharu Omuka (University of Tsukuba), "Itagaki Takaho et la critique photographique au Japon"Session 4: Les marges de la photographie
- Michael Lucken (Inalco), "Qu’est-ce que les reproductions d’art disent de la photographie?"
- Anne Bayard-Sakai (Inalco), "La photographie au secours de la fiction"
Twenty-Second Annual Michele Berton Memorial Lecture on Japanese Art
Miya Elise Mizuta (University of Southern California)
Los Angeles County Museum of Art
6 December 2009
[from LACMA, 11/15/09]
Miya Elise Mizuta, adjunct professor of East Asian languages and cultures and art history, USC, will discuss the dramatic lights of Tokyo over the last century, going back to the rooftop neon towers of Tokyo's Ginza district in the 1930s.
Silvia Davoli (University of Reims)
Wallace Collection
London, UK
7 December 2009
[courtesy of M. Leino, 11/9/09]
Enrico Cernuschi founded the Cernuschi museum at the end of the 19th century. The collection--today among the largest collections of Oriental art in Europe--was gathered by Cernuschi during the trip to Asia that he did in 1871, along with the art critic Theodore Duret.
Cernuschi did not leave any written evidence about his museum. This silence, combined with the interpretative complexity that rises from his double nationality and cultural background, and with the many renovations and transformations of the museum, has limited our understanding of the museum's original features. The initial presence of a Renaissance Art collection--dispersed after Cernuschi's death--inside the hotel-museum is even more mysterious.
Theodore Duret's view of the arts and the Japonisme movement has provided up to today the only accepted interpretation and explanation of the museum. This connection between Duret's ideas and Cernuschi's museum has however prevented a study of the true roots of the museum. The investigation I have conducted during my PhD research broadens Enrico Cenuschi's Italian educational and philosophical background and presents new possible explanations of the hermeneutics of his museum.
RSVP: Leda Cosentino
Ho Puay-peng (Chinese University of Hong Kong)
Visual Arts Centre
Hong Kong
9 December 2009
[from Friends, 11/15/09]
Prof. Ho will provide us with an overview of the aesthetics and structure of Japanese Garden Architecture.
Professor P.P. Ho, Dean of Students and Professor of Architecture at the Chinese University of Hong Kong, specializes in traditional Chinese art and architecture, teaching habitation and architectural history. He is also Director of the Chinese Architecture and Heritage Unit, CUHK. Selected Publications include 100 Traditional Chinese Buildings in Hong Kong.
Robert Jacobsen
Minneapolis Institute of Arts
10 December 2009
[from MIA, 9/6/09]
Robert Jacobsen will present an illustrated lecture focused on a famous masterpiece of ancient Chinese bronze casting from the Pillsbury collection. This talk is presented in conjunction with the special exhibition, The Louvre and the Masterpiece (18 October 2009 - 10 January 2010), on view through January 10, 2010. After establishing the criteria for judging masterpiece quality, Jacobsen will apply them to a variety of Chinese works from the museum's world-renowned collection of Chinese art.
Presented by the Asian Art Curatorial Council.
Adriana Proser (Asia Society)
Museum of Fine Arts
Houston, TX
10 December 2009
[from Asia Society, 11/15/09]
Dr. Adriana Proser, John H. Foster Curator of Traditional Asian Art, at Asia Society New York will be discussing her upcoming exhibition on the Buddhist pilgrimage as visualized in art. Opening at the Asia Society New York museum on March 16, Dr. Proser's exhibition examines the artistic production inspired by sacred sites and the practice of Buddhist pilgrimage in Asia. The exhibition will illuminate the ways in which Buddhist pilgrimage-both physical and mental-has been a source of inspiration to artists and craftsmen as well as a motivating force for patrons and collectors.
Yuhang Li (University of Chicago)
in the conference "Embrodiery and Storytelling / broder et raconter"
Université de Rouen
France
10-11 December 2009
[from H-NET, 11/4/09]
Peter Y. K. Lam (Chinese University of Hong Kong)
Oriental Ceramic Society
London, UK
15 December 2009
[from OCS Autumn Programme 2009, 9/26/09]
The Qianlong Emperor (born Hongli, 1711-1799) reigned officially from 1735 to 1796, after which he retired, a filial act done so as not to surpass the sixty-one years of the reign of his grandfather, the Kangxi Emperor. His reign was one of the most prosperous in Chinese history. With unprecedented strong imperial patronage and unlimited resources, the ceramic output from the Imperial Porcelain Factory in Jingdezhen, Jiangxi Province, during this period had been colossal. The Factory produced thousands of porcelain wares every year for court consumption as well as other domestic consumers, bringing innovative technical virtuosity to Jingdezhen. The majority of the Qianlong imperial porcelain wares carry reign marks on their bases, making them easily identifiable, but to date them more precisely within the six decades of the long reign has been a most difficult task. This lecture attempts to solve this problem and to suggest a dating framework for these Qianlong porcelain wares, by making references to useful criteria such as studio names, bannermen, kiln supervisors, archival records, documentary references and calligraphic styles of the base marks, apart from the more usual guidelines of form, style and technical considerations.
Peter Y. K. Lam, a graduate from the Percival David Foundation of Chinese Art, School of Oriental and African Studies, University of London, is an art historian as well as a museum professional. His scholarly works on Chinese ceramics, calligraphy rubbings and the decorative arts are widely published. For the past thirty-five years he has been with the Art Museum, the Chinese University of Hong Kong, where he is its Director/Professor. He is a long time member of the Min Chiu Society of prominent collectors in Hong Kong, a council member of the Chinese Society of Ancient Ceramics in Beijing, an Honorary Research Fellow of the Palace Museum, Beijing, and former member of the Antiquities Advisory Board (former Chairman of its Archaeological Committee), Hong Kong SAR Government. In recognition of his contribution to the study of Chinese art he was awarded a Medal of Honour by the Hong Kong SAR Chief Executive in 2007.
Andrew Watsky (Princeton University)
Japan Society
New York, NY
15 December 2009
[from JAS, 10/11/09]
Lecture on the exhibition The Cultivated Object: Named Things in Momoyama period (1573–1613), Japan. Andrew Watsky, Professor and Director of Graduate Studies, Department of Art and Archaeology, Princeton University, will lecture on his current research.
Peter Lam (Chinese University of Hong Kong)
British Museum
17 December 2009
[from BM, 11/15/09]
Peter Lam discusses perhaps the most well-known and well-published Chinese blue-and-white porcelain in the world–the pair of temple vases from the Percival David Collection, now on display in the Museum’s Sir Joseph Hotung Centre for Ceramic Studies.
Academia Sinica and Foguang University
Taiwan
17-22 December 2009
[from H-ASIA, 5/5/09]
The Department of Buddhist Studies of Foguang University, the Institute of Linguistics of the Academia Sinica, announce a conference provisionally entitled "The Tangut Language and the Religions and Cultures of the Northern China in the Age of the Xixia, the Liao, and the Jin. The conference will take place from 17 through 22 December, 2009 at the Institute of Linguistics (Academia Sinica, Nangang, Taipei) and at Foguang University (Jiaoxi).
The conference organizers solicit scholarly contributions on issues related the languages, cultures, and religions of Northern China in the period from the end of the Tang dynasty (around the year 881 which marked the beginnings of the Tangut statehood) until the Mongol conquest, with primary focus on the languages, cultures and religions of the Tangut kingdom, and the Khitan and Jurchen Empires. Papers are especially sought on such particular subjects as religious practices at Wutaishan and other specific North China locales in the period prior to the Mongol invasion, the stone sutras of Fangshan, the Tangut inscriptions in Baoding, and intercultural and religious exchange throughout the Northern Asia during the specified period. Papers on topics that extend into the Yuan and Ming may also be considered.
The conference will consist of two sessions: one, devoted primarily to the linguistics, will be held at the Academia Sinica, while the second, devoted to the religious and cultural issues, will be held on the campus of Foguang University in Jiaoxi.
Komatsu Taishu (Tokyo National Museum)
Tokyo National Museum
19 December 2009
[from TNM, 11/15/09]
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.
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.
Kojima Michihiro (National Museum of Japanese History)
Tokyo National Museum
30 January 2010
[from TNM, 11/15/09]
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.
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.
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"
University of Virginia
Charlottesville, VA
11-13 March 2010
[from Orientations, 9/6/09; 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 Japan and Korea
- 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"
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)
- Susan Whitfield (International Dunhuang Project, British Library), "Mapping the Silk Road"
- Dorothy Wong (University of Virginia), "Silk Road: The Path of Transmission of Avalokiteúvara"
- Grace Yen (Academia Sinica, Taipei, "Digital Archive of Buddhist Rubbings"
- Marcus Bingenheimer (Dharma Drum Buddhist College, Taipei), "Visualizing and Querying the Biographies of Eminent Monks"
- Kurtis Schaeffer (University of Virginia). "Mapping the Dalai Lamas"
- Christian Wittern (Kyoto University), "Creating a Digital Edition"
Roundtable Discussion
Chair: David Germano (University of Virginia)
Philadelphia, PA
25-28 March 2010
[from AAS, 10/25/09; panels relating to Chinese and Japanese visual and material culture listed below; full panel listings forthcoming]
22. Rethinking Underground Ritual Sites in Tang-Song China (Yun-Chiahn C. Sena, University of Texas, Austin)
32. Illustrating Reception: Honglou meng, Genji monogatari, and Visual Culture (I-Hsien Wu, New School University)
44. Women and Lay Buddhism in Japanese Rites and Art (Elizabeth Lillehoj, DePaul University)
51. Exploring New Pilgrimages in China and Taiwan (Wei-ping Lin, National Taiwan University)
52. Forgotten Arts of the Ming Dynasty (Aida Yuen Wong, Brandeis University)
57. Liao and Heian: Renegotiating the Northeast Asian Cultural Matrix (Mimi Yiengpruksawan, Yale University)
70. Japan’s France: Imagery of France in Japanese Painting and Fiction, 1900 to 1950 (Doug Slaymaker, University of Kentucky)
75. Jingdezhen’s China: New Approaches to the Material Culture of Ceramics (Anne T. Gerritsen, University of Warwick)
93. Japanese Visual and Material Culture in Transnational Contexts: Shifting Ideas of "China" in Edo and Meiji Japan - Sponsored by Japan Art History Forum (Keiko Suzuki, Ritsumeikan University)
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) (Katharine Burnett, University of California, Davis)
128. For Modernizations: Reconsidering the Post-Mao Moment in the Arts (Jason McGrath, University of Minnesota)
151. Roundtable: Gender and Cultural Production: A New Approach to Chinese Women’s Journals in the Early 20th Century (Joan Judge, York University)
172. Material Things: Objects in 1950s and 1960s Japanese Film and Fiction (Helen F. Weetman, University of Denver)
173. Art and War in Twentieth-Century Japan and the Koreas (Dafna Zur, University of British Columbia)
187. Buddhist Art and Its Functions for Temples, Local Communities, and the State (Jessica L. Patterson, Reed College)
198. Family and House in Premodern Japan: An Exploration of the Uesugi (David Spafford, University of Washington)
210. Who Owns the Past? Views on the Koguryo History Dispute in East Asia (Mark E. Byington, Harvard University)
227. Reading Between the Fine Lines: Non-Visual Meaning in Song and Ming Paintings: A Panel in Honor of Professor Emerita Ellen Johnston Laing (Susan N. Erickson, University of Michigan, Dearborn)
232. Roundtable: Our Libraries, Our Histories, Ourselves: A Century (and More) of East Asian Collections and East Asian Studies (Mary E. Berry, University of California, Berkeley)
236. Picturing the Foreign: Images of East and West in Visual and Literary Culture from 1400 to Present (Xiaoling Shi, Rhodes College)
247. Rethinking “Influences” of Modern Art in Korea: Beyond Colonial Discourses (Jung Ah Woo, Korea Advanced Institute of Science and Technology)
259. Lieux de Mémoire in Asian Art (Melia R. Belli, Washington University, St. Louis)
263. Experiencing the Illustrated Book in East Asia (Roberta Wue, University of California, Irvine)
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"
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>
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| POSITIONS |
| The
World-Wide Web Virtual Library [Alphabetical || Category Subtree || WWW VL database] |
|