The
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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.
First Annual Conference of the Cluster of Excellence "Asia and Europe in a Global Context: Shifting
Asymmetries in Cultural Flows"
University of Heidelberg
Germany
7-9 October 2009
[from H-ASIA, 7/19/09]
"Transculturation - highlights those places where the carefully defined borders of identity become confused and overlapping, a task that requires new histories, new ideas and new means of representation" (Nicholas Mirzoeff, 1997)
Transculturality is certainly one of the recent concepts we must come to terms with, literally. And with all its complexity and many criticisms the relatively young field of inquiry into globalisation has already received. We propose that by studying the flows of images and media in such a light, we sharpen our competence and 'literacy' to think, write and speak transculturally. With this annual conference's topic, the cluster of excellence "Asia and Europe in a Global Context" ventures into new domains of research on the transculturality of images and media. It addresses the felt need to ask new questions on the basis of this challenging approach on the one hand, and to develop new or modify more conventional and often genuinely ethno- and Eurocentric concepts, as they are applied "naturally" in many of the established and even younger disciplines within the Humanities. Such concepts may range from origin, original and originality to authenticity and value, taste and distinction. They also highlight problematic notions such as the dichotomy of indigeneity and hybridity, high and low art, religious and secular domains as categories of distinction.
WEDNESDAY, 7 OCTOBER
Opening Lecture
Sarat Maharaj (Lund University), "Pandemonium Asia: Shifts and Surges in the Flow of Images, Media and Info-Data"
THURSDAY, 8 OCTOBER
Panel 1: Approaching the Field of Visuality and Media
Chair: Melanie Trede (University of Heidelberg)
- Monica Juneja (University of Heidelberg), "Plato Plays Music to the Animals: Interpictorial Practice as a Dimension of Transcultural Visuality"
- Christiane Brosius (University of Heidelberg), "Love in the Age of Valentine and Pink Underwear: Negotiating Romantic Love and the Asymmetries of Transcultural Image and Media Flows"
- Madeleine Herren-Oesch (University of Heidelberg), "The Cosmopolitans' Visual Illusions. Conceptual Transculturality in Global History"
- Patricia Uberoi (University of New Delhi), "Inter-Asian Circuits: Popular Prints and their Circuits in China and India"
- Alexandra Chang (New York University), "Visual Flows and the Art of Cosmopolitanism: Ma Jun, David Diao and Tomokazu Matsuyama"Panel Two: Heavenly Bodies
Chair: Barbara Mittler (University of Heidelberg)
- Timon Screech (SOAS, University of London), "The Battle of Lepanto as a Flowing Image"
- Hans Harder (University of Heidelberg), "Transcultural Mock History from India? Ramavatar Sharma's Puzzling Mudgaranandcharit (1912-13)"
- Catherine Yeh (Boston University), "Guides to Paradise: Entertainment Newspapers, Visual Wander and the Invention of Leisure"
- Susanne Enderwitz (University of Heidelberg), "'The 99': Islamic Superheroes?"Public Lecture
Nicholas Mirzoeff (New York University), "The Flow and The Flood: Mediation, Migration, Circulation and Climate Change"
FRIDAY, 9 OCTOBER 2009
Panel Three: Circulating Icons
Chair: Thomas Maissen (University of Heidelberg)
- Alexander Henn (University of Arizona), "Iconic Encounters: Images and Shrines in Goa"
- Eva Zhang (University of Heidelberg), "Kannon - Guanyin - Virgin Mary: Early Modern Discourses on Alterity, Religion and Images"
- Sumathi Ramaswamy (Durham University), "The Work of Goddesses in the Age of Technological Reproduction"
- Eva Ambos (University of Heidelberg), "The Changing Image of Sinhalese Healing Rituals: Performing Identity in New Public Spheres"Panel Four: Floating Technoscapes
Chair: Joachim Kurtz (University of Heidelberg)
- Ajay Sinha (Mount Holyoke College), "Haunted Relationships and Cinephilic Imagination in India?"
- Amelia Bonea (University of Heidelberg), "The Telegraph as Medium and Mediator in Nineteenth-Century Colonial India"
- Sun Liying (University of Heidelberg), "An Exotic Self? Flows of Western Nude Images in the Pei-yang Pictorial News (1926-1933)"
- Mio Wakita (University of Heidelberg/University of Tokyo), "Photography in Meiji Japan and the Making of the Icons of 'National Femininity': Re-Examining Female Images in Meiji Souvenir Photography"Closing Statements and Final Discussion
Sarat Maharaj
Nicholas Mirzoeff
Christiane Brosius (University of Heidelberg)
Nic Leonhardt (University of Heidelberg)
Roland Wenzlhuemer (University of Heidelberg)
Canadian Asian Studies Association (CASA), East Asian Council Conference
Vancouver, BC
8-11 October 2009
[from CASA, 9/18/09; papers/panels relating to Chinese/Japanese visual/material culture listed below]
Panel 6: On the Preservation of Cultural Heritage, Traditions and Memory
President: Kimie Hara (University of Waterloo)
- Alexandre Avdulov (St. Mary's University), "Trans-Pacific Cultural Crossings: Chanoyu (Japanese Tea Ceremony) in Canada--Tradition and Communities"
- Victoria Dickenson (McCord Museum), "Souvenirs of Here: Memory, Museums and Social Capital"
Panel 8: 20th Century War Art in Asia: The Wartime Production of Art, Part 1
President: Ming Tiampo, (Carleton University) and Asato Ikeda (University of British Columbia)
- Kari Shepherdson-Scott (Duke University), "Fuchigami Hakuyô's Evening Sun: Untangling Aesthetics, Memory and War"
- Asato Ikeda, "Japanese War Art, Fascist Jouissance and 'National Erotics'"
- KURE Motoyuki (University of Tokyo; regrets, read by Jennifer Ritchie, University of British Columbia), "Roaring Tigers or Miserable Refugees? Chinese Ink Paintings During the Sino-Japanese War"
- WU Yao (Guggenheim Museum), "Chinese Sons' Solitude: Modern 'Pietàs' by Pang Xunqin and Wang Guangyi"
Discussant: Aya Louis aMcDonald (University of Nevada)
Panel 12: 20th Century War Art in Asia: The Wartime Production of Art, Part 2
President: Ming Tiampo, (Carleton University) and Asato Ikeda (University of British Columbia)
- KANEKO Maki (University of Kansas), "Mukai Junkichi's Transformation from a War to Minka (Folk House) Painter"
- OTSUKI Tomoe (University of Toronto), "Beyond Legal Justice: Addressing Asia's Forgotten WWII Victims"
- Laura Hein (Northwestern University), "Reckoning with War in the Museum: Hijikata Teiichi at the Kamakura Museum of Modern Art"
Discussant: Aya Louisa McDonald (University of Nevada)
Panel 28: Structures of Religion: From Built Form to Tolerance
President: André Laliberté
- Rosanna Tak-pui Sze (University of British Columbia), "The Role of Stupas Constructed by Ordinary People and Monks in Early Stage of Chinese Buddhism"
- Cary Takagaki (University of Toronto), "The Rokusho-Ji: The Superiority Temples of Heian Japan"
- Wei-Ting Guo (University of British Columbia), "Adjudicating Grave Destruction Cases in 19th Century Taiwan: Geomancy, Judicial Politics and Litigation Strategy"
2009 New York Conference on Asian Studies (NYCAS)
Cornell University
Ithaca, NY
9-10 October 2009
[from NYCAS, 10/9/09; papers/panels relating to Japanese and Chinese art history listed below]
Panel 1: Transnationalism as a National Style?: Korean Diasporic Histories in Global Contexts
- Koonyong Kim (Duke University), "The Spatial Unconscious of Globalization: The Origin of Postmodern Visual Culture and Its Repressed"
Panel 5: Western Connections
- Chair: Ellen Avril (Cornell University)
- Rosalind Bradford (Independent Scholar), "A Sogdian on the Guyuan Sarcophagus: Not Quite, Not Yet"
- Jiang Wentao (SUNY Stony Brook), "Aesthetics of Distancing and Approximating: George L. Staunton"
- Hyun Hee Park (John Jay College, CUNY), "Before 1492: Earliest Chinese Knowledge about the Maritime"
- Michael Laver (Rochester Institute of Technology), "The Shogun's Menagerie: The Diplomacy of Gift Giving in Early Modern Japan"
Panel 10: Buddhism
- Angieszka Helman-Wazny (Cornell University), "Between the Master Edition and its Copies: The Visual Transmission of Tibetan Kanjur Editions Produced in Beijing"
Panel 11: Producing Art in Global Asia
- Chair: An-Yi Pan (Cornell University)
- Winter Mead (Oxford University), "User-led Technologies and the Movie Industry: Dynamic Technology Effects on Management"
- Kin Sum Li (Hong Kong), "Mobility and Visuality: Chinese and Foreign Landscape in Contemporary Chinese Ink Painting"
- Chris Hudson (Royal Melbourne Institute of Technology University), "Encompassing, Engaging Exhilarating: The Singapore Arts Festival and the Production of Global Cosmopolitanism"
Panel 21: Reading the Visual
Chair: Pamela Corey (Cornell University)
- Brinda Kumar (Cornell University), "Curating the Orient, Creating Asia"
- Pamela Corey, "Artistic Interventions, Exhibitionary Critiques, and Discourses of Memory Surrounding the S-21 Photographs"
- Elizabeth Emrich (Cornell University), "Constructions of Meaning in Photographic Documentation of Chinese Performance Art"
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"
Ulrich Heinze (University of East Anglia)
Sainsbury Institute for the Study of Japanese Arts and Cultures
Norwich, UK
15 October 2009
[from Sainsbury, 9/7/09]
Mimi Hall Yiengpruksawan (Yale University)
Columbia University
15 October 2009
[from Keene Center, 9/26/09]
In the spring of the year 1006 a spectacular new star appeared in the skies over Kyoto. People said it was as bright as the sun. For the next 18 months it lit up the night sky and could be seen during the day as well. Ongoing rituals were held at the palace and at temples and shrines to placate this bright new visitor. The star is known today as SN 1006, a spectacular supernova whose remnants can still be seen as the double star K Lupi in the constellation Lupus. It is believed to have been the largest supernova recorded in human history. This event—-exogenous and unpredicted—-was but one of a series of environmental and biological interventions that struck Kyoto circa 1000. What this means for our understanding of the complex of art practices that emerged during the same period—-a complex profoundly bound up with what we now identify as "traditional" or "native" Japanese culture—-is the theme of my talk. I proceed on the premise that the rapid transformation of Kyoto art and culture circa 1000 was a function of a threshold phenomenon in which a series of exogenous—and stochastic—environmental factors triggered a geometric progression, or phase shift, in which an array of small causes and coincidences produced maximum effects in the cultural domain whose summed result was paradigm shift.
Mimi Hall Yiengpruksawan received her Ph.D. in Japanese Art from the University of California at Los Angeles in 1988. She has taught at Yale University since 1990. In her work Yiengpruksawan focuses on Buddhist art and iconography with emphasis on political and social perspectives in the analysis of imagery and ritual. She is currently completing a series of books that examine the Buddhist cultural productions of early Kyoto from a revisionist perspective grounded in primary records and material evidence. Since the early 1990s Yiengpruksawan has also maintained a research and teaching commitment to modern Asian art.
Eleventh Annual John W. Hall Lecture on Japanese Studies at Yale University
Andrew Gordon (Harvard University)
Yale University
New Haven, CT
15 October 2009
[from CEAS, 10/11/09]
In one widely held perspective, "wartime modernity" is an oxymoron. In one widely held perspective, "wartime modernity" is an oxymoron. Japan's road of the 1930s into World War II veered sharply from the liberalizing trends of the 1920s, an era both cosmopolitan and internationalist, and thus modern, into a "dark valley" of militarism and anti-Western, anti-modern thought and behavior. This change included a "break in the Japanese evolution toward Western dress" through the militaristic top down imposition of uniform dress on the population at large. Similarly, the war is said to have interrupted both the spread of household sewing machines and of Western dress as it imposed the traditional agricultural work outfit known as monpe. Although such a perspective is not without some merit, I will argue against the full or easy acceptance of it, in line with recent scholarship which has argued that "the maturation of modern institutions and not their stunting led to the burst of expansionism of the 1930s," and that "a Japanese modern mass-culture" indeed "continued into the Pacific War because the consumer-subjects of the patriarchal Japanese family-state did not want to let go of the modern." This new approach has centered primarily on the public face of culture and economic life. I use the history of the household sewing machine and its uses to move the inquiry into the homes and the wardrobes of both working and middle-class families, in particular seeking to recover a sense of the agency of women as both subjects and consumers.
Carl Strehlke (Philadelphia Museum of Art)
"Bernard Berenson at Fifty"
Villa I Tatti
Florence, Italy
16 October 2009
[from Villa I Tatti, 8/30/09]
38th Southwest Conference on Asian Studies (SWCAS)
University of Texas at Austin
16-17 October 2009
[from SWCAS, 8/30/09; papers/panels relating to Chinese and Japanese visual and material culture listed below]
Panel 1: Performance, Practice, and Contest in Early Chinese Texts
- Yun-Chiahn C. Sena (University of Texas), "The Rhetoric of Antiquity: Textuality and Practice in the Song Antiquarian Movement"
- David Sena (University of Texas), "Inscribed Ritual Bronzes in the Political Context of the Western Zhou"
Panel 2: Art, Aesthetics and Symbolism in East Asia
Chair: Alisa Gaunder (Southwestern University)
- Alisa Gaunder, "From Madonnas to Assissins—The Changing Image of Female Politicians in Japan"
- Diana Tenckhoff (Southwestern University), "The Making of a Merchant-Scholar and the Importance of Topography in Seventeenth Century Chinese Painting"
- Shannon Moore (University of Texas), "Curating Asian Contemporary Art—Is Japan a Model?"
- Yu Yang (Columbia University), "Architecture in Shadows: Tanizaki‘s Traditional Aesthetics"
Panel 9: History and the Visual in Postwar Japan
Chair: Peter Siegenthaler (Texas State University, San Marcos)
- Julia Adeney Thomas (University of Notre Dame), "Flirtatious Evidence in Occupied Japan: Photography's Metaphoric and Metonymic Promises"
- Peter Siegenthaler, "Reading Heritage Townscapes: Preservation, History, and the Visual in 1960s Japan"
- Kirsten Cather (University of Texas), "Stilled Images and Moving Bodies in Kumashiro Tatsumi's 1973 Nikkatsu Roman Porn Underneath the Papering of the Four-and-a-Half Mat Room"
Discussant: Nancy Stalker (University of Texas)
Panel 16: Spirituality and Religion in East Asia
Chair: Johan Elverskog (Southern Methodist University)
- Christopher S. Thompson (Ohio University), "Forgotten Visions of the Afterlife: Nineteenth Century Posthumous Votive Portraiture in Iwate Japan"
- Johan Elverskog, "The Case for Lamaism"
- William Lindsey (University of Kansas), "Between Cosmos and Culture: Portrayal of Fetal Spirituality in Late Tokugawa Japan"
Panel 24: Buddhism in Art and Imagery
Chair: Xiaobing Li (University of Central Oklahoma)
- Christina Weisner (University of Texas), :The Absent Signifier in Early Buddhist Art and Similarities to 21st Century Literalist Art"
- Sarah Getzelman (Ohio State University), "Imaging the Dalai Lama: Incarnations in Art and Practice"
- Matthew D. Milligan (University of Texas), "Reliquaries of the Buddha? Buddhist Stupa Imagery in Relief Art from Central India"
Toronto Photography Seminar
University of Toronto
Ontario, Canada
16-17 October 2009
[from conference website, 8/31/09; papers/panels relating to Chinese and Japanese visual culture listed below]
Emotional States: Citizenship and Photography
- Lily Cho (University of Western Ontario), "Between States: Feeling and Identity in Chinese Head Tax Certificates"
Visual Witnessing: Photography and World War II
- Claude Baillargeon (Oakland University), "Mimesis, Memorialization, and the Photographic Representation of Hibakusha"
2009 Toshiba International Foundation Symposium
University of Pittsburgh
Pittsburgh, PA
16-17 October 2009
[from Pitt, 9/6/09; papers/panels relating to art history listed below]
The Place of Women in Japanese Culture
- Shalmit Bejarano (University of Pittsburgh), "Parody and Identity: Examining Values in Japanized Images of Sericulture"
51st Annual Conference
Rollins College
Winter Park, FL
16-18 October 2009
[from AACS, 7/1/09; papers/panels relating to visual and material culture listed below]
Topics in Chinese Culture (I)
- Ning Yao (Heidelberg University), "The painting Fungus growing at the Cenwei Residence (1659) of Wu Li (1632-1718)"
Topics in Historical Scholarship
- Xiaoyi Liu (University of Arizona), "Clothing culture and clothing choices as reflected in Xingshi Yinyuan Zhuan, the panoramic Ming novel"
The Textile Museum Fall Symposium
Washington, DC
16-18 October 2009
[from Textile Museum, 9/7/09]
In conjunction with the exhibition Contemporary Japanese Fashion: The Mary Baskett Collection (17 October 2009 - 11 April 2010).
- Sharon Takeda (Los Angeles County Museum of Art), "The Kimono Mirror: Reflections of Japanese Culture and Style"
- Liza Dalby (author of Kimono: Fashioning Culture, Geisha, and The Tale of Murasaki), "The Geisha Influence on Kimono Fashion"
- Kendall Brown (California State University, Long Beach), "The Modern Kimono: Women and Fashion in Interwar Japan"
- Harold Koda (Metropolitan Museum of Art), "Found in Translation: The Japanese Fashion Avant Garde"
- Yuniya Kawamura (Fashion Institute of Technology, New York), "In Search of an Identity: Japanese Youth in Fashion Subcultures"
- Matilda McQuaid (Smithsonian Cooper-Hewitt National Design Museum, New York), "Transforming Technologies in Japanese Textiles"
Contemporary and Historical Archaeology in Theory (CHAT) 2009
Keble College, University of Oxford
Oxford, UK
16-18 October 2009
[from CHAT, 9/11/09; papers/panels relating to China and Japan listed below]
Session 2: Assemblages & Manufacture
- Chieh-fu Cheng (Academia Sinica), "Dutch Beads in Formosa? The Glass Bead Transactions in the Early Historical Period of Taiwan"
- Liu Jiun-yu (National Taiwan University), "Contemporary Archaeology in Taiwan: An Example from the Excavation of Qing Dynasty Military Factory"
Session 4: Conflict & Postcolonialism
- Wang Su-Chin (National Taiwan University), "Artifacts Found in the 17th-century Strata in the Fort Zeelandia Site"
- Tai-Lung Lu (National Taiwan University), "An Excavation on Fort Santo Domingo: A Case Study on Historical Archaeology of Taiwan"
Miami University
Oxford, OH
16-18 October 2009
[from MCAA, 9/12/09; papers/panels on Chinese and Japanese visual culture listed below]
42: From Feudalism to Universalism: Identity Conflicts in Modern and Contemporary Japanese Art And Music
Chair/Discussant: Mikiko Hirayama (University of Cincinnati)
- Matt Bennett (University of Cincinnati), "Okiku's Well: Portal Between Worlds, Site of Resistance"
- Leif Fairfield (University of Cincinnati), "The Sphinx in the Desert: A New Momentum for Katsura Funakoshi"
- Bryan Fijalkovich (University of Cincinnati), "From Court to Pleasure Quarters: Visualizing Prince Genji in the Ukiyo-e of Utagawa Kunisada (1786-1864) in Nineteenth-Century Japan"
64: Asian Art at the Miami University Art Museum
Chair: Ann Barrott Wicks (Miami University)
- Carolyn Woodford Schmidt (Ohio State University), "The Miami University Art Museum Collection of Sculptures from Ancient Greater Gandhara: Lasting Legacies and New Insights"
- Ann Barrott Wicks (Miami University), "One Hundred Children at Play: Children as Auspicious Imagery in China"
- Robert S. Wicks (Miami University), "Creating the Folded Screen: Asian Painting in the Miami University Art Museum"
Discussant: Arpana Sircar (Miami University)
72: Romancing China and Inter-disciplining the Mind
- Sufen Sophia Lai (Grand Valley State University), "Eighteen Hundred Years of Vistas from Red Cliffs: A 'Museum-Exhibit' Approach to Teaching Chinese Culture"
111: Art and Politics
Chair: Robert S. Wicks
- Annie Kroshus (University of St. Thomas), "Defining Identity and Memory: Chinese Propaganda Posters and Scar Art"
- James Wehn (University of St. Thomas), "The Sino-European Line: Sinicization of French Engraving Style in the Victory Prints of Emperor Qianlong"
- Yanfei Zhu (Ohio State University), "Art History and Nationalism in Early Twentieth Century China"
Discussant: Ann Barrott Wicks, Miami University
84: Social Spaces of War Memories in Japan and Korea
Chair/Discussant: Jinhee Lee (Eastern Illinois University)
- Amanda Evans (Eastern Illinois University), "Dokdo/Takeshima: Juxtaposed Memories in Cartographic Practices"
- Tristan Sodergren-Baar (Eastern Illinois University), "A Divided Memory: Evaluating the Cultural History of Yasukuni Shrine
"
- Mitsumi Takei (Eastern Illinois University), "A-Bomb Memories and Representations in Postwar Japanese Art"
90: Nation Building and Culture Building: The Encounter between Literary Imagination and Ideology
- Chengjuan Sun (Kenyon College), "Collecting and Recollecting: the Use of Objects in Wu Weiye's Play Spring in Moling"
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.
Maxwell K. Hearn (Metropolitan Museum of Art)
Metropolitan Museum of Art
New York, NY
18 October 2009
[from MMA, 9/6/09]
William Marotti (University of California, Los Angeles)
Yale University
New Haven, CT
19 October 2009
[from CEAS, 9/12/09]
Heather Blair (Indiana University)
University of Washington
Seattle, WA
19 October 2009
[from SOA, 10/3/09]
Today a large incised bronze plaque dating to the year 1001 and bearing the image of Zaô Gongen rotates through the galleries in the Tokyo National Museum. This bronze is designated a national treasure, but once was enshrined atop the peak of Kinpusen, just south of Yoshino in the northern reaches of the Ômine Range. How did THIS masterpiece of Japanese art leave the mountain, pass through the hands of a scrap-metal dealer, join the possessions of Sôjiji, a Zen temple in Tokyo, and finally enter the modern art-historical canon?
Museu do Oriente
Lisbon, Portugal
19-20 October 2009
[from H-NET, 10/1/09]
"Fine Objects: Material Culture Re-Thought" will be held at the newly established Museu do Oriente in Lisbon on October 19th-20th 2009, and coordinated by the Fundação Oriente, the Portuguese Instituto de Museus e Conservação, the Centro Histórico do Além Mar (Department of History, Universidade Nova de Lisboa) and the Jorge Welsh Gallery.
In recent years, humanities along with social sciences have become more concerned with the processes shaping the ends and means of current intercultural discourses. In this respect, most European societies today are presently witnessing and experiencing issues of cross-cultural bridging, synchronicity and juxtaposition in different aspects of their contemporary living.
Seen from the convergent perspectives of museum and conservation studies as well as social sciences, this multicultural challenge calls for a balanced interpretation of its present potential and of its future trajectories. But, to what extent do these intercultural concerns touch upon what has been recognized as the art-culture system? What is the role of the art-culture system when it comes to observing and interpreting multicultural issues in society and the latter's constant renewal? How neutral is the museum's institutional gaze on society when challenged by present-day multicultural synchronicity? To what extent can displays in public and private collections be considered as effective tools for analyzing social changes? In what ways might private European collectors of today, interested in early-modern extra-European arts and artefacts, contribute to the recording of current shifts in European subjectivities? What is the role played by European restorers when dealing with extra-European artefacts and material objects? To what extent do current conservation and display practices in Europe risk substantiating a taxonomic idea of "cultures" as formulated for past colonial purposes?
The kinds of analyses informing this conference are based on these introductory questions. The organizers' principal aim, however, is to discuss the arrival in Europe of early-modern Chinese and Japanese artefacts and material objects. The Portuguese and Iberian contributions to the circulation of Far Eastern Asian artefacts in Europe were crucial, leading to five hundred years of constant and ever increasing exchanges between Europe and Asia. The historical and cultural legacies of these early encounters might seem to have been fully explored; however, they still give rise to several questions. Considered the ideological backgrounds bracing European interests in Far Eastern Asia, and the latter's re-presentations in different historical moments and in different European countries, four questions stand out:
(1) Within which parameters is it possible to speak about cultural and artistic hybridism with reference to early modern Far Eastern Asian artefacts and material objects in Europe?
(2) Which Far Eastern Asian artefacts or media, and which narratives were privileged to re-present European changing interests in Asia making them discernible by different European beholders in different moments in history?
(3) To what extent might European display, collecting and conservation practices have contributed to reformulate, retain and validate the hybrid narratives bestowed on far eastern Asian artefacts circulating at the same time, or in different moments and ways in various European countries?
(4) To what extent might "hybrid" early-modern far eastern Asian artefacts be considered as an effective tool to invent a suitable national history for recently established Asian communities in today's Europe and, at the same time, promote their social integration?
This conference offers us the opportunity to further explore and analyse these issues.
For further information or to receive a PDF version of the program leaflet (in English or Portuguese) please write to dcm@foriente.pt.
Library of Congress
Washington, DC
20 October 2009
[from H-NET, 9/15/09]
To comprehend a tumultuous history like that of twentieth century China, we can benefit greatly from the acute observations of a creative artist active during the period. Ding Cong (1916-2009), until recently China's most famous living cartoonist and artist, offers that perspective. The Library of Congress and George Mason University are sponsoring a one day symposium and exhibition showing Ding Cong's life and work. The morning conference at the Library of Congress will include speakers intimately familiar with Ding's life and work. In the afternoon, the Mason Gallery at GMU will display 50 cartoons and artwork and include more commentary. These events will celebrate the life and works of this artist whose cogent insights illuminate China's volatile century.
Academy of Fine Arts
Prague, Czech Republic
20-21 October 2009
[from conference website, 8/30/09; papers on Chinese visual culture listed below]
International 3-day conference to be held at the DigiLab AVU (Digital Laboratory of the Academy of Fine Arts in Prague) and organized by the Aesthetics and Film Studies Departments of the Faculty of Arts, Charles University, Prague, Czech Republic in cooperation with DigiLab.
- Kiu-wai Chu (University of Hong Kong), "Perspectives in Chinese Visual Culture"
J. P. Park (University of Colorado, Boulder)
Denver Art Museum
Denver, CO
21 October 2009
[from DAM, 9/6/09]
Assistant Professor of Art and Art History at CUBoulder, J.P. Park will explore the paradox embedded in Zen art and rituals; the irony between iconoclasm and relic whorship, serene gardens and violent action paintings, emphasis on "emptyness" and highly eleborate rituals with a brief review of meditation, tea ceremony, garden culture, koan (riddles), emphasis on physical labor, and relic worship.
Rachel Silberstein
Oxford Asian Textile Group
University of Oxford
UK
21 October 2009
[from OATG, 10/15/09; papers/panels relating to China and Japan listed below]
The talk will focus on the historical development of the cloud collar and how this process reveals the changing role of dress in Chinese ceremonial culture.
Rachel Silberstein is a PhD student at the University of Oxford working on Han women's dress. Her research examines issues of fashion and commodification in Qing dynasty dress. The cloud collar, a detachable accessory, has a history of some eight hundred years in Chinese dress. From the glamorous adornment of Jin dynasty female entertainers to the imperial uniform of Yuan dynasty male bodyguards, from Tibetan Buddhist hangings to Han women's wedding dress: throughout its lengthy history the cloud collar has been worn by different ethnic, social, and gender groups, who adopted and appropriated its symbolic and cosmological significance for diverse practices.
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
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.
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, Paris), "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]
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.
University of Potsdam
Potsdam, GermanyK
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.
Mary Hirsch (Independent Scholar)
Princeton University
12 November 2009
[from Tang Center, 9/5/09]
Wang Zheng (University of Michigan)
University of Michigan
17 November 2009
[from CSS, 9/16/09]
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).
Mary Hirsch (Independent Scholar)
Princeton University
12 November 2009
[from Tang Center, 9/5/09]
Examining the covers of the official magazine Women of China over the span of 60 years, this presentation traces diverse interplays and contentions between the male-dominated central power, state feminists, and women of diverse social locations in the socialist period, and transformations of their relations in the market economy. The research is part of a large project on a history of the PRC from gender perspective.
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.
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.
Ueno no Yama Bunka Zone Festival Lecture
Takahashi Yuji (Tokyo National Museum)
Tokyo National Museum
21 November 2009
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.
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.
Raja Adal (Harvard University)
Harvard University
4 December 2009
[from RJIS, 9/12/09]
Discussion moderated by Andrew Gordon (Harvard University).
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.
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.
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.
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.
Lothar von Falkenhausen (University of California, Los Angeles)
University of Chicago
21 January 2010
[from UC, 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-).
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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