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2.! National Library of Australia

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4.! Nelson-Atkins Museum of Art

5.! Newark Museum

6.! Cleveland Museum of Art

7.! Getty Center

8.! Museum of Fine Arts, Boston (MFA)

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1. Royal Ontario Museum

Made in China: Cultural Encounters through Export Art

Closing August 2016.

This exhibition explores the lasting impact of cultural encounters between Europe and China on

an important artistic tradition. While art is often inspired by the surrounding culture and politics,

Chinese export art was also influenced by its target audience.

Chinese artists and artisans responded to the growing demand for Chinese export art in Europe

during the 18th century by appealing strategically to western taste, and adopting European painting

techniques and styles. At the same time, the romanticized view of China portrayed in export art

only left Europeans craving more from this imagined and idealized region.

With artifacts from the ROM’s unique Chinese, European, and Natural History collections,

including impressive works on pith, leaves, paper, and porcelain, this exhibition places the globally

recognized trademark “Made in China” into historical context.

https://www.rom.on.ca/en/exhibitions-galleries/exhibitions/made-in-china-cultural-encounters-th

rough

2. National Library of Australia, Exhibition Gallery, Ground floor

Celestial Empire: Life in China 1644-1911

2016 1 2 —5 22 10.00am-5.00pm

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http://www.nla.gov.au/

http://mp.weixin.qq.com/s?__biz=MzA5NDU4NjkwMQ%3D%3D&mid=401065091&idx=1

&sn=1ab6503acec2cd7628b9c235816e323b&scene=2&srcid=12286CBpu4oKNHqQ3n6kYnYI

&from=timeline&isappinstalled=0#wechat_redirect

3. The Metropolitan Museum of Art

1 A Passion for Jade The Heber Bishop Collection

March 14, 2015–June 19, 2016

http://www.metmuseum.org/exhibitions/listings/2015/passion-for-jade

Heber R. Bishop's collection of carved jades was formed in the last quarter of the nineteenth

century and bequeathed to the Metropolitan Museum in 1902. Consisting of over one thousand

pieces—primarily Chinese jades of the eighteenth and nineteenth centuries, as well as jades from

Mughal India—it was the first major collection of its kind in the country. This exhibition features a

selection of the finest examples from this renowned collection and celebrates the hundredth

anniversary of the Department of Asian Art.

2 Chinese Textiles Eight Centuries of Masterpieces from the Met Collection

September 12, 2015–June 19, 2016

http://www.metmuseum.org/exhibitions/listings/2015/chinese-textiles

This installation, which explores the cultural importance of silk in China, will showcase the most

important and unusual textiles from the Museum's collection. In addition to three rare pieces dating

from the Tang dynasty (618–906), when China served as a cultural hub linking Korea and Japan to

Central and West Asia, and, ultimately to the Mediterranean world, the exhibition also includes

eleventh- and twelfth-century tapestries from Central Asia, as well as contemporaneous Chinese

examples of this technique.

Spectacular embroideries—including an imperial fourteenth-century canopy decorated with

phoenixes and flowers, and a monumental late seventeenth- or early eighteenth-century panel

showing phoenixes in a garden—will also be on view, together with theatrical garments, court

costumes, and early examples of badges worn at court to designate rank.

3 Chinese Lacquer Treasures from the Irving Collection, 12th–18th Century

September 12, 2015–June 19, 2016

http://www.metmuseum.org/exhibitions/listings/2015/chinese-lacquer

Lacquer, the resin of a family of trees found throughout southern China—as well as in Southeast

Asia, Korea, and Japan—is an amazing material. When exposed to oxygen and humidity, lacquer

hardens or polymerizes, becoming a natural plastic and an ideal protective covering for screens,

trays, and other implements. Mixed with pigments, particularly cinnabar (red) and carbon (black),

lacquer has been also used as an artistic media for millennia.

This installation, which features all of the most important examples of Chinese lacquer in the

Museum's collection, explores the laborious techniques used to create scenes based on history and

literature, images of popular gods and mythical and real animals, and representations of landscapes

and flowers and birds.

4 Masterpieces of Chinese Painting from the Metropolitan Collection

October 31, 2015–October 11, 2016

http://www.metmuseum.org/exhibitions/listings/2015/masterpieces-of-chinese-painting

http://mp.weixin.qq.com/s?__biz=MzA3MTUxMzEzNw%3D%3D&mid=217305488&idx=1

&sn=275e62d512416c4ec9ae7e534ce0f4b3&scene=0#rd

This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a

chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368)

dynasties.

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4. Nelson-Atkins Museum of Art

Flowers to Frost: Four Seasons in East Asian Art

July 18, 2015–July 17, 2016

http://www.nelson-atkins.org/art/exhibitions/flowers-to-frost.cfm

5. Newark Museum

1 China's China Porcelain, Earthenware, Stoneware & Glazes

Now on View

http://www.newarkmuseum.org/china.html

Over 2,000 years of ceramic excellence are showcased with meaningful selections to feature a range

of different techniques through both figural and practical forms. Dating from seven different

dynastic periods—stretching from the second century BC to contemporary works—this

installation provides a profound rationale for why the name of the country became a synonym for

the ceramic arts while demonstrating an abridged introduction of some of the most significant and

celebrated ceramic types in Chinese history.

2 Red Luster Lacquer & Leatherworks of Asia

Ongoing

http://www.newarkmuseum.org/red-luster

For the past two thousand years—far before the development of plastic laminations and

modern-day adhesives—lacquer was (and remains) a superior material. Red Luster: Lacquer and

Leatherworks of Asia demonstrates the aesthetic impact of red lacquer and its faux imitators in

leatherworks and other materials. The glossy sheen, slick texture and deep colors of lacquer have

long been a prized material throughout Asia but the materials to create “true lacquers” do not exist

in all of Asia.

Different raw materials originating from different types of trees and even insects distinguish East

Asian lacquers (China, Japan and Korea) from those of Central and South Asia (Turkey, Iran, India

and Tibet) or Southeast Asia (Myanmar). The relatively slow construction process, coupled with

regionally restricted supplies of raw material, made production relatively exclusive. Thus all of Asia

also developed imitation or faux lacquers created by an even greater variety of materials and

techniques. Many faux lacquers became important forms of art in their own right. This is the first

lacquer exhibition to span the vastly different cultural and historical legacies of Asia from the Near

to Far East.

6. Cleveland Museum of Art

Silent Poetry: Masterpieces of Chinese Painting

11/14/2015-04/24/2016

http://www.clevelandart.org/events/exhibitions/silent-poetry-masterworks-chinese-painting

7. Getty Center

Cave Temples of Dunhuang: Buddhist Art on China's Silk Road

May 7–September 4, 2016, GETTY CENTER

The Mogao caves, located near the town of Dunhuang in the Gobi Desert of northwest China,

comprise some 500 decorated Buddhist cave temples dating from the 4th to the 14th century. Filled

with exquisite wall paintings and sculptures, the caves bear witness to the intense religious, artistic,

and cultural exchanges along the Silk Road, the trade routes linking East and West. Cave Temples of

Dunhuang: Buddhist Art on China's Silk Road features numerous objects originally from the site—such

as paintings and manuscripts that have rarely, if ever, traveled to the United States, as well as three

spectacular full-size cave replicas. The exhibition celebrates more than 25 years of collaboration

between the Getty Conservation Institute and the Dunhuang Academy to preserve this UNESCO

World Heritage Site.

8. Museum of Fine Arts, Boston (MFA)

a new display of art from the prosperous and vibrant Song dynasty (960-1279)

02/06/2016

Beyond this new display, visitors can explore six additional galleries dedicated to Chinese art at the

MFA, highlighting sculpture, ceramics and Bronze Age art, as well as Chinese furnishings, scholarly

objects and Buddhist art. Beyond the Screen evokes an elegant courtyard household from the late Ming

period, highlighting Chinese furniture of the 16th and 17th centuries.

http://www.mfa.org/news/song-gallery

9. Seattle Art Museum

JOURNEY TO DUNHUANG: BUDDHIST ART OF THE SILK ROAD CAVES

MAR 5 – JUN 12 2016

ASIAN ART MUSEUM

FOSTER GALLERIES

Located at China’s western frontier, the ancient city of Dunhuang lays at the convergence of the

northern and southern routes of the Silk Road—at a crossroads of the civilizations of East Asia,

Central Asia, and the Western world. From the late fourth century and until the decline of the Silk

Road in the fourteenth century, Dunhuang was a bustling desert oasis—a center of trade and

pilgrimage, and a gateway for new forms of art, culture, and religions.

This exhibition brings us the wonders of Dunhuang’s caves seen through the eyes of James and

Lucy Lo featuring a comprehensive selection of their photographs, manuscripts, and artist renditions.

In 1943, during World War II, photojournalist James C. M. Lo (1902–1987) and his wife, Lucy, a

photographer, arrived at Dunhuang by horse and donkey-drawn cart. Their ambitious 18-month

project produced over 2500 black and white images that record the caves as they were in the

mid-20th century, capturing many views of the interiors and exteriors that no longer exist today.

They also collected fragments of ancient texts and drawings–now the largest collection of Dunhuang

manuscripts in the U.S.

After moving to Taiwan in the 1950s, the couple invited a group of young artists to produce life-size

copies of their cave mural photographs, and coloring was added to the renderings.

These remarkable works on view are testament to James and Lucy Lo’s mission to preserve and

transmit the visual splendors of this ancient site.

The exhibition is organized in cooperation with the Princeton University Art Museum and the P.Y.

and Kinmay W. Tang Center for East Asian Art.

http://www.seattleartmuseum.org/Exhibitions/Details?EventId=42562

10. SF Asian Art Museum

CHINA AT THE CENTER: RARE RICCI AND VERBIEST WORLD MAPS

MAR 4 —MAY 8, 2016

The Asian Art Museum presents two rare masterpieces of 17th-century cartography, the result of

early collaborations between Jesuit priests and Chinese scholars sharing knowledge and curiosity

about the world. The 1602 Ricci map, developed by Matteo Ricci while in China, is the earliest

known Chinese map to depict the Americas. The 1674 Verbiest world map, created by Ferdinand

Verbiest for the Chinese court, is being exhibited for the first time ever.

Through these large-scale woodblock-printed maps, discover how much of the world’s geography

and ethnography was known at this early date, including the longest river in Africa, the peninsula of

Florida, the fish-skin clothing of the far north and the feathered garb of Amazonian peoples. Two

interactive digital displays reveal translations describing the peripheries of the “known world”: lands

where giants paint their faces, oceans with mermaids and flying fish, and a kingdom inhabited by

foot-tall humans who live in constant fear of being devoured by hawks.

With easy access to GPS technology, the world is now literally at our fingertips. These maps

transport us to an age when tremendous effort was required to understand the contours of the

world and to record (and imagine) the marvels within it.

http://www.asianart.org/exhibitions/china-at-the-center#

11. Freer/Sackler

1) PAINTING WITH WORDS: GENTLEMAN ARTISTS OF THE MING DYNASTY

April 16–July 24, 2016

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as

the ultimate expressions of Chinese literati culture during the Ming dynasty (1369–1644). Members

of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for

their interpretations of these creative expressions. Painting with Words celebrates Wu School works,

examining the relationship between their imagery, brushstrokes, and, especially, words. Selections are

drawn from the Freer|Sackler—home to one of the best Wu School collections in the country—as

well as other museums and collections.

2) CHINAMANIA

July 9, 2016–January 2, 2017

Chinamania, the craze for Chinese blue-and-white ceramics, swept London in the nineteenth century

and still endures in the West. Contemporary artist Walter McConnell, inspired by his travels in China

and the kilns as Jindgzhen, interrogates this phenomenon through his reinstallation of Kangxi

porcelains similar to those originally displayed in the Peacock Room. The show also includes two

monumental ceramic stupas from McConnell’s The Theory of Everything series.

12. University of South California Pacific Asia Museum

Royal Taste: The Art of Princely Courts in Fifteenth-Century China

February 26, 2016 - June 26, 2016

Known as the “Empire of Great Brightness,” the Ming dynasty (1368–1644) was one of the most

prosperous and exuberant dynasties in China. It restored the native rule by overthrowing the

Mongolian regime of the previous Yuan dynasty (1271–1368) and established thirteen provinces to

control the vast empire. After choosing Beijing as the new capital, the Ming dynasty extended the

Great Wall along the borders and restored the Grand Canal to connect waterways between the north

and the south. Besides establishing its military might, the Ming dynasty also produced a splendid

material culture.

Royal Taste offers a unique glimpse into the luxurious lifestyles of princely courts in early- and

mid-Ming China. Featuring more than one hundred fifty works of pictorial, sculptural, and

decorative arts, this exhibition sheds light on some lesser-known aspects of the palatial lives and

religious patronage of Ming princes. Their regional courts were at the center of art production,

creating works that showcased imperial styles while reflecting local traditions. The quality of

craftsmanship and beauty of design testify to the richness and sophistication of the art and culture in

the provincial courts, as well as their abundant resources.

The majority of the objects on view were selected from recent archaeological finds now in the

collections of four museums in China’s Hubei province. Also included are imperially commissioned

statues from Daoist temples at Mount Wudang, the birthplace of tai chi. Select examples from the

USC Pacific Asia Museum’s permanent collection and the noted local collection at the Chen Art

Gallery are also included to further highlight the sophisticated material culture of the period.

http://www.pacificasiamuseum.org/_on_view/exhibitions/2016/RoyalTaste.aspx

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2. Tang Center Lecture Series

Beyond Brush and Ink: Two Lectures on Medium, Image, and Landscape in China

Robert E. Harrist, Jr.

Jane and Leopold Swergold Professor of Chinese Art History, Columbia University

Stone Paintings and Landscapes Made by Chance

Tuesday, 12 April 2016

5:00 pm, 101 McCormick Hall, Princeton University

Beyond Painting: Landscape and Other Mediums in Modern China

Tuesday, 19 April 2016

5:00 pm, 101 McCormick Hall, Princeton University

This lecture series is organized by the Tang Center and cosponsored by the Princeton University Art

Museum

Registration: There is no registration fee, but advance registration is requested.

For more information and to register online, please visit www.princeton.edu/tang/lectures/tcls

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2016 Summer Program: Buddhism and East Asian Cultures

Buddhism and East Asian Cultures:

An Intensive Program of Lectures Series, Conference/Forum, and Fieldwork

July 15-25, 2016, Mount Wutai ュ & Datong ., China

The Wutai International Institute of Buddhism and East Asian Cultures (WII), Institute for Ethics and

Religions Studies (IERS) at Tsinghua University, Buddhist Studies Forum at Fudan University (FU-BSF),

and the Buddhist Studies Forum at the University of British Columbia (UBC-BSF) in Vancouver,

Canada cordially invite applications for a 10-day program of lecture series, conference/forum, and

fieldwork on Buddhism and East Asian Cultures (July 15-25, 2016) at Great Sage Monastery of Bamboo

Grove (Dasheng Zhulin si れ ), Mount Wutai ュ , and Datong, Shanxi, China.

I. Venue Great Sage Monastery of Bamboo Grove (Dasheng Zhulin si れ ), Mount Wutai

ュ , Shanxi, China

II. Schedule——July 15-25, 2016

July 15, 2016 Registration

July 16-19, 2016 Main Programs (lectures and Students’ Forum)

July 20, 2016 Tour on Mount Wutai

July 21-22, 2016: Wutai Cult Conference;

July 23-24, 2016: Tour in Datong;

July 25, 2016 Home-going

III. Four-part Lecture Series: The program organizers have invited three international scholars to

conduct, all bilingually (English and Chinese), a three-part lecture series related to Buddhism and East

Asian Culture, with each part composed of three consecutive 120-minute lectures with a general theme

(over three days). These three bilingual speakers and their lecture themes are:

Professor Jinhua Chen (Department of Asian Studies, University of British Columbia, Canada):

International Characteristics of Buddhism: East Asian Perspectives マ ;

Professor James Robson (Department of East Asian Languages and Civilization, Harvard University):

“Sacred Geography” in East Asia “に〒 ”;

Professor Barend ter Haar (Faculty of Oriental Studies, University of Oxford): Enlisting the Divine

Realm: Witches, Mediums, Shamans and Buddhist Critique に

ぎ .

This three-part lecture series will be accompanied by five lectures delivered by five China-based scholars

on Buddhism and East Asian cultures.

IV. Four Additional Projects: In addition to this four-part intensive lecture series, this program also

sponsors the following four projects:

An international conference on the Wutai-Mañjuśrī cult, titled “Mañjuśrī in Motion: The Cross-cultural

Characteristics and ‘International’ Impact of the Wutai Cult,” to be held at the Great Sage Monastery of

Bamboo Grove at Mount Wutai, July 19, 21-22, 2016 (conference information announced at

http://blogs.ubc.ca/dewei/call-for-papers-the-second-international-conference-on-the-wutai-cult/).

An International Young Scholars Forum on Buddhism and East Asian Cultures (July 16 at the Great

Sage Monastery of Bamboo Grove). Excellent articles may be recommended to academic journals for

publication. They include the Fojiao wenxian yanjiu 《も (Studies on Buddhist Texts),

Foxue yanjiu も (Buddhist Studies), Fojiao shi yanjiu ) も (Historical Studies of

Buddhism), Studies in Chinese Religions, edited by Prof. Fang Guangchang, Prof. Shengkai, Prof. Sun

Yinggang, and Prof. Jinhua Chen, respectively.

Taste of the Dharma: a series of 1-2 hour sessions providing monastic experiences, including seated

meditation, tea-ceremony and other temple rituals.

Occasional visits to renowned local historical sites (especially Buddhist and other religious temples and

shines) on the Wutai range. Students with relevant research interests may also apply to participate in an

additional two-day (July 23-24) tour in Datong.

V. Applications: Participants are required to take part in all of the activities supported by this program,

including the four-part lecture series, the regular conference and the Young Scholar Forum (paper

presentations are optional, but attendance is required), field trips on the Wutai range (that in Datong is

optional), monastic experience session, etc. Graduate students specializing in any Buddhist tradition(s) or

East Asian religions, and postdoctoral fellows working on relevant fields, are encouraged to apply. Please

direct applications and inquiries to [email protected]. Please submit

applications before April 1, 2016. Each application should include (1) an application form (to be

provided upon request via the above email), (2) an updated curriculum vitae, (3) one writing sample, and

(4) a reference letter (to be emailed by the referee directly to the above email address).

VI. Program Expenses: Successful candidates will be exempted from all tuition fees. Program organizers

will also provide free boarding (lodging and meals) in China during the program period, although

participants are expected to cover

the costs for the transportation between their home cities and Mount Wutai; and

an administration fee of 1,000RMB≈US$150.

2. Chinese Object Study Workshops

Chinese Object Study Workshops is a program that provides graduate students in Chinese art history

an immersive experience in the study of objects. The week-long workshops (Monday-Friday) will help

students develop the skills necessary for working with objects, introduce them to conservation issues

not readily encountered in typical graduate art history curricula, and familiarize them with important

American museum collections.

Each workshop is intended for around ten graduate students, to be selected from across North

America and Europe through an open application process. These students will study and work with a

team of faculty and curators from the host museum. Eight workshops are planned for the next four

years, with two occurring during each academic year.

2016 WORKSHOPS

Workshop One: Early Chinese Paintings

Host: Museum of Fine Arts, Boston

Workshop Leaders:

•! Hui-shu Lee, University of California, Los Angeles

•! Richard Vinograd, Stanford University

•! Nancy Berliner, Museum of Fine Arts, Boston

•! Richard Barnhart, Yale University (Emeritus)

Dates: Monday-Friday, June 13-17, 2016

Explore early Chinese paintings in the Museum of Fine Arts, Boston (MFA). Drawing from the MFA’s

rich collection of works attributed to the Song and Yuan and earlier eras, the workshop will consider the

intertwined procedures of connoisseurship and attribution studies, conservation and technical studies,

object-driven scholarship, collecting history, canon formation (and deconstruction), and art historical

writing. Students will consider works of established historiographical importance as well as paintings

connected to emerging concerns in recent art historical writing, such as women and gender, Daoist

religious art, word/text/poetry-and-image relationships, interregional networks of Buddhist art exchange,

and images and imaginaries of ethnic others.

Workshop Two: Chinese Calligraphy

Host: Metropolitan Museum of Art

Workshop Leaders:

•! Robert Harrist Jr., Columbia University

•! Hui-Wen Lu, National Taiwan University

•! Joe Scheier-Dolberg, Metropolitan Museum of Art

Dates: Monday-Friday, August 29-September 2, 2016

Investigate works of Chinese calligraphy and related paintings from the Metropolitan Museum of Art.

Through close study of objects, students will learn to read signatures, inscriptions, and seals and to

understand the important ways in which writing informs the aesthetic, historical, and expressive

dimensions of Chinese art. Instructors will emphasize issues in connoisseurship, materials, techniques,

and determining authenticity. In addition to developing basic skills of analyzing and describing

calligraphy, students will explore the role of writing in works that combine texts and images. The

workshop also will consider Chinese calligraphy in relation to other traditions of writing as a fine art

represented in the museum's collections.

HOW TO APPLY

Deadline: March 1, 2016 (decisions to be announced by March 31)

Applications must be submitted in English (PDF file preferred) and include:

•! Application cover sheet (download)

•! Curriculum vitae

•! Graduate school transcript (unofficial is acceptable). Students from European universities at which

transcripts are not provided may submit similar documents (transcript of records, report of studies,

etc.)

•! 500-word statement discussing why the workshop is of interest; relevant previous research, classroom

work, or teaching experience; and the impact the workshop will have on future research and

professional development

•! One letter of recommendation from a professor of Chinese art history in a sealed envelope signed

across the flap. The letter of recommendation may be included with the application or sent directly

from the reviewer. Email is acceptable if the letter is sent directly from the reviewer. In either case, it is

the responsibility of the applicant to ensure that the letter of recommendation arrives by the

application deadline.

Students are welcome to apply for both workshops in a single application, addressing their background

and interest in each workshop in the application statement. Include one recommendation letter that

addresses the two workshop topics.

Email complete applications to [email protected].

https://www.asia.si.edu/research/workshops/chinese-object-study.asp

Call for paper

1. Memorial landscapes: World images East and West

International Warburg Seminar, Hamburg University / Aby Warburg Foundation, Hamburg, in

cooperation with National Taiwan Normal University and National Taiwan University, Taipei

The 2016-2017 International Warburg Seminar, to be held in Taipei on 26-30 September 2016 and in

Hamburg on 3-7 April 2017 and aimed at doctoral candidates and young academics, will be devoted to

comparative views of the landscape genre. People’s perception of their surrounding landscape is subject

to a variety of cultural encodings. This becomes particularly clear when international comparisons are

made – between, say, Eastern and Western conceptions of landscape. Whereas in the Western world

‘landscape’ and ‘landscape painting’ are practically synonymous (‘Claude Lorrain’s landscapes’), the

Chinese language, for instance, uses very different terms for the two concepts: ‘landscape’ in the sense of

a vista, ル (jǐngsè), is thus conceptually quite separate from the traditional notion of landscape

painting, (shānshuǐ), which is composed of the characters for ‘mountain’ ( ) and ‘water’ ( ). At

the same time, notions of landscape are subject to constant historical change, and the landscape painting

genre has performed a whole series of different tasks which may also vary from period to period.

Landscapes are not only veduta-like depictions of nature, but they also provide subjective perspectives

on the artist’s realm of experience; they may be outlines for ideal or world landscapes that are more or

less distinct from their natural models; and they may be much else besides.

The International Warburg Seminar on Memorial landscapes: world images East and West will focus

not so much on aspects of landscape that only depict natural settings as on those that address the

construction of cultural links in the broadest sense, creating landscapes with a motivic, thematic, social or

political charge – to paraphrase Pierre Nora, paysages de mémoire. Such landscape images encapsulate

historical events and national identities, basic philosophical attitudes and political conflicts or cultural,

social or environmental issues. The landscape can then become not only a form of reflection on links

beyond landscape itself, but also a meta-genre that expresses how nature and landscape are perceived by

a particular artist, cultural region or period.

Doctoral candidates or young post-graduate art historians from all over the world are invited to submit

proposals for the seminar theme. These may include both proposals in the field of Asian and Western

art history during any period from the Middle Ages to the present day, as well as – and in particular –

themes that already deal with transfer between Eastern and Western notions of landscape. Participants

will be expected to give a talk on their proposal. It is planned that proposals accepted for the seminar will

be published. During the first week of the seminar, in autumn 2016, all the participants will present

preliminary papers which will be further developed in the light of discussions in preparation for the

second week of the seminar. The contributions will be jointly edited during the spring 2017 session. All

travel and accommodation expenses will be covered by the organizers. The seminar will be held in

English. Applications including a detailed thematic proposal (max. two pages), a CV (resume), a list of

relevant publications and a letter of recommendation from the applicant’s academic supervisor or a

senior researcher must be submitted in PDF format by 10 March 2016 to Professor Shai-Shu Tzeng,

National Taiwan Normal University ([email protected]), Professor Yih-Fen Hua, National Taiwan

University ([email protected]) and Professor Uwe Fleckner, University of Hamburg

([email protected]).

2. All the Beauty of the World (Berlin, 13-15 Oct 16)

Berlin, October 13-15, 2016

Deadline: Feb 15, 2016

All the Beauty of the World.The Western Market for non-European Artefacts (18th-20th century)

International Symposium

Berlin, Germany

In the wake of the Western expansion, a fast growing number of non-European artefacts entered the

European market. They initially made their way into princely cabinets of curiosities. Enabled by the

forced opening and exploitation of more and more parts of the world and pushed by social and

technological changes of the time, the 18th century brought a boom of the market of non-European

artefacts in Europe. This came along with the emergence of a broader collecting culture and the

development of a rich museumscape.

This market and its development in terms of methods and places of exchange and monetary and

ideological value of the objects are in the focus of an international symposium organised by the Institute

for Art History in cooperation with the Center for Art Market Studies at Technical University Berlin, in

collaboration with the Institut d'histoire moderne et contemporaine (CNRS) and the Labex TransferS

(PSL) in Paris. The keynote lecture will be given by Prof. Timothy Brook, holder of the Republic of

China Chair at the University of British Columbia.

The aim of the symposium is to examine how the market for non-European artefacts developed

between 18th and 20th century and to which extend it was entangled with the history of museums and

private collections. The following five topics will serve as main axis: actors and networks, places of

purchase and trade, transfer and transport, prices and value and expertise. The axes are entangled and

should not be regarded as separated topics.

1. Actors and networks: Who were the actors of the market (e.g. art dealers, commercial agents, carriers

but also diplomats, travellers, expats, missionaries or military as well as museums and collectors)? Which

regional specifications can be identified? Who were the key figures of the market(s)? Which networks

can be spotted? How did they work?

2. Places of purchase and trade: What were the centres of the purchase and/or trade of art objects (in the

countries of origin as well as in Europe)? How did they develop in the course of the period of

examination? Which significance did the primary markets and their political/social development have for

the European market? Did the European market turned into the primary market at a certain time? What

were the main places for purchase and trade in Europe (e.g. auctions houses, galleries, private houses)?

What marketing methods can be identified?

3. Transfer and transport: What were the (political, social, technological) circumstances of the objects

purchase? To which extend did technological developments (e.g. establishment of railway lines)

influence the market offer? How were the objects brought to Europe (e.g. export and import regulations,

methods of transport)?

4. Prices and value: Which payment methods or methods of exchange did exist? How did they impact

the value of objects? How was the value of an object determined? To which extend did this value

change in space and time (difference between primary and secondary market; development in the course

of time)? Despite the monetary value of a price: which other function in the act of purchase can be

identified (e.g. legitimation of possession)? And to which extend did the change of the price and value

shape the European collections? Here, we are especially interested in the shift from an economy of

looting or/and bazaar in the countries of origin to the pricing and “rational” marketing after the arrival

and commercialisation of the objects in Europe.

5. Expertise: How did the perception of and the knowledge about non-European art develop? How was

the knowledge generated and transferred? Which role did individual actors (e.g. dealers, museums,

collectors) play in the development of the perception of the objects? To which extend did the

development of expertise influence the market offer, the display of the objects and the character of the

collections?

The focus of the investigation will be set on the development between 18th and 20th century. Papers

exploring the market development before 18th century and especially those comparing the development

before and after 1700 are also welcome.

Conference language is English.

Papers should be a maximum of 20 minutes in length, and preference will be given to proposals that

stimulate dialogue and engage with broader topics. Please send proposals (max. 300 words) with a short

academic CV to [email protected] by 15 February 2016 at the latest. Selected speakers will be

notified by 15 March 2016. Financial assistance with travel expenses for speakers may be available

(subject to grant approval).

Convenors:

Prof. Dr. Bénédicte Savoy (TU Berlin)

Dr. Charlotte Guichard (CNRS, IHMC, Paris)

Dr. Christine Howald (TU Berlin)

http://arthist.net/archive/11972

��

1) Scrolling Paintings Project

University of Chicago

https://lucian.uchicago.edu/blogs/caea/scrolling-paintings/

Handscroll paintings, painted horizontally on a pieces of silk or sheets of paper and mounted as scrolls,

are a major type of traditional East Asian painting, distinctive in their format and method of viewing.

Their creation is based on special principles that differ from those of painting single-framed pictures as

they are continuous pictures that progress in space and time. Handscroll paintings are meant to be

handled as well as seen–unrolled for viewing and rolled up for storage. Viewing section by section calls

for particular kinds of engagement or participation on the part of the viewer moving forward (from left

to right) stopping and going back. In addition to painted images, the scrolls often include handwritten

text, artists’ signatures and seals, and the seals of later owners of the painting. The texts might include

narrative and descriptive passages on the painting itself and colophons added at the end, including

comments by of the painters’ associates and later viewers, including owners of the paintings. These can

provide a social history of the painting.

Because of the rare and fragile nature of these paintings, however, they are rarely shown. They cannot be

handled by the public or exposed to light for extended periods in exhibitions. Therefore our center

created this interactive site to simulate the experience of viewing handscrolls in ways that published

photographs in books and projected slides cannot and to make them more widely accessible for teaching

and research.

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Masterpieces of Chinese Painting from the Metropolitan Collection Rotation 1: 10/31/2015–4/17/2016 Rotation 2: 5/7/2016–10/11/2016 During the last forty years, the Metropolitan’s collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. With masterpieces dating from the Tang dynasty (608–917) to the Qing (1644–1911), the collection encompasses the vast historical sweep of the brush arts of China, from meticulous court painting to fiercely brushed dragons to lyrical paintings by scholars. The exhibition is part of a yearlong celebration marking the centennial of the Department of Asian Art. This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368) dynasties.

大都会馆藏中国书画精品特展一期: 10/31/2015–4/17/2016 二期: 5/7/2016–10/11/2016

过去四十年中，大都会博物馆逐渐发展成世上最重要的中国书画收藏機構之一。馆藏囊括唐朝

(618–907) 到當今的历代笔墨精華，從祥和的佛经，到浮夸的宫廷肖像，再到遣興的文人画。展览

将馆藏珍品按時代陈列，对宋 (960–1279)、元 (1271–1368) 两朝尤有侧重。

Rotation 1 一期: 10/31/2015–4/17/2016

MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1

(10/31/2015-4/17/2016)

唐韓幹照夜白圖卷

Han Gan, Chinese, active ca. 742–756

Night-Shining White

China

Handscroll

ca. 750

Handscroll; ink on paper

1977.78

唐傳鍾紹京楷書靈飛經冊

Zhong Shaojing, Chinese, active ca. 713–41

Spiritual Flight Sutra

China

Album

ca. 738

Album of nine leaves; ink on paper

1989.141.1a–i

南宋佚名明皇幸蜀圖軸

Unidentified Artist

Emperor Xuanzong's Flight to Shu

China

Hanging scroll

mid-12th century

Hanging scroll; ink, color, and gold on silk

41.138

五代/北宋佚名乞巧圖軸

Unidentified Artist

Palace Banquet

China

Hanging scroll

Hanging scroll; ink and color on silk

2010.473

北宋佚名倣范寬山水圖軸

Unidentified Artist

Fan Kuan, Chinese, active ca. 990–1030

Landscape in the Style of Fan Kuan

China

Hanging scroll

early 12th century


56.151

1


(10/31/2015-4/17/2016)

北宋黃庭堅草書廉頗藺相如傳卷

Huang Tingjian, Chinese, 1045–1105

Biographies of Lian Po and Lin Xiangru

China

Handscroll

ca. 1095


1989.363.4

北宋李公麟孝經圖卷

Li Gonglin, Chinese, ca. 1041–1106

The Classic of Filial Piety

China

Handscrolls

ca. 1085

Three handscrolls: a) painting, ink on silk; b) colophons, ink on paper;

c) modern copy preserving seventeenth century silk restorations, ink on paper

and silk

1996.479a–c

北宋佚名睢陽五老, 畢世長像冊頁

Unidentified Artist

Portrait of Bi Shichang, from the set Five Old Men of Suiyang

China

Album leaf

before 1056

Album leaf; ink and color on silk

17.170.1

南宋高宗草書天山陰雨七絕詩團扇

Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162

Quatrain on Heavenly Mountain

China

Fan mounted as an album leaf

after 1162

Round fan mounted as album leaf; ink on silk

1989.363.6

2


(10/31/2015-4/17/2016)

南宋楊皇后楷書瀹雪凝酥七絕團扇

Empress Yang Meizi, Chinese, 1162–1232

Quatrain on Yellow Roses

China


Fan mounted as an album leaf; ink on silk

1989.363.13

南宋馬遠月下賞梅圖團扇冊頁絹本

Ma Yuan, Chinese, active ca. 1190–1225

Viewing Plum Blossoms by Moonlight

China

Folding fan mounted as an album leaf

early 13th century

Fan mounted as an album leaf; ink and color on silk

1986.493.2

南宋夏珪山市晴嵐圖冊頁

Xia Gui, Chinese, active ca. 1195–1230

Mountain Market, Clear with Rising Mist

China

Album leaf

early 13th century

Album leaf; ink on silk

13.100.102

南宋理宗趙昀行書北宋梅堯臣依韻和資政侍郎雪後登看山亭詩

團扇

Emperor Lizong, Chinese, 1205–64, r. 1224–64

Quatrain on Snow-covered West Lake

China



1989.363.18

3


(10/31/2015-4/17/2016)

南宋趙孟堅水仙圖卷

Zhao Mengjian, Chinese, 1199–before 1267

Narcissus

China

Handscroll

mid-13th century


1973.120.4

南宋趙孟堅行書梅竹詩譜卷

Zhao Mengjian, Chinese, 1199–before 1267

Poems on Painting Plum Blossoms and Bamboo

China

Handscroll

dated 1260


1989.363.28

元耶律楚材行書贈別劉滿詩卷

Yelü Chucai, Khitan, 1190–1244

Poem of Farewell to Liu Man

China

Handscroll

dated 1240


1989.363.17

北宋傳黃宗道舊傳李贊華獵鹿圖卷

Huang Zongdao, Chinese, active ca. 1120

Li Zanhua, Chinese, 899–936

Stag Hunt

China

Handscroll

Handscroll; ink and color on paper

1982.3.1

北宋傳楊邦基聘金圖卷

Yang Bangji, Chinese, ca. 1110–1181

A Diplomatic Mission to the Jin

China

Handscroll

ca. late 1150s

Handscroll; ink and color on silk

1982.1.1

4


(10/31/2015-4/17/2016)

南宋傳陳居中胡騎春獵圖團扇

Chen Juzhong, Chinese, active 1200–1230

Nomads Hunting with Falcons

China


early 13th century


47.18.32

元佚名蓮花圖軸

Unidentified Artist

Lotus and Water Birds

China

Hanging scrolls

ca. 1300

Pair of hanging scrolls; ink and color on silk

1988.155a, b

南宋佚名阿彌陀如來圖軸

Unidentified Artist

Buddha Amitabha Descending from His Pure Land

China

Hanging scroll

13th century


1980.275

元李堯夫蘆葉達摩圖軸

Li Yaofu, Chinese, active ca. 1300

Bodhidharma Crossing the Yangzi River on a Reed

China

Hanging scroll

before 1317

Hanging scroll; ink on paper

1982.1.2

5


(10/31/2015-4/17/2016)

南宋傳直翁藥山李翱問道圖軸

Zhiweng, Chinese, active first half of the 13th century

Meeting between Yaoshan and Li Ao

China

Album leaf mounted as a hanging scroll

before 1256

Album leaf mounted as a hanging scroll; ink on paper

1982.2.1

南宋佚名騎驢圖軸

Unidentified Artist

Chan Master Riding a Mule

China

Hanging scroll

before 1249


1989.363.24

元趙蒼雲劉晨阮肇入天台山圖卷

Zhao Cangyun, Chinese, active late 13th–early 14th century

Liu Chen and Ruan Zhao Entering the Tiantai Mountains

China

Handscroll


2005.494.1

元趙孟頫, 趙雍, 趙麟吳興趙氏三世人馬圖卷

Zhao Mengfu, Chinese, 1254–1322

Zhao Yong, Chinese, 1289–after 1360

Zhao Lin, Chinese, active second half of the 14th century

Horses and Grooms

China

Handscroll

1296 and 1359


1988.135

元張羽材霖雨圖卷

Zhang Yucai, Chinese, active 1295–1316

Beneficent Rain

China

Handscroll

late 13th–early 14th century

Handscroll; ink on silk

1985.227.2

6


(10/31/2015-4/17/2016)

元周東卿漁樂圖卷

Zhou Dongqing, Chinese, active late 13th century

The Pleasures of Fishes

China

Handscroll

dated 1291


47.18.10

元方從義雲山圖卷

Fang Congyi, Chinese, ca. 1301–after 1378

Cloudy Mountains

China

Handscroll

second half of 14th century


1973.121.4

元倪瓚秋林野興圖軸

Ni Zan, Chinese, 1306–1374

Enjoying the Wilderness in an Autumn Grove

China

Hanging scroll

dated 1339


1989.363.38

元張遜石上松花圖軸

Zhang Xun, Chinese, ca. 1295–after 1349

Rocky Landscape with Pines

China

Hanging scroll

before 1346

Hanging scroll; ink on silk

2008.673

元陸廣丹臺春曉圖軸

Lu Guang, Chinese, ca. 1300–after 1371

Spring Dawn Over the Elixir Terrace

China

Hanging scroll

ca. 1369


1982.2.2

7


(10/31/2015-4/17/2016)

元盛懋秋林漁隱圖團扇

Sheng Mou, Chinese, active ca. 1310–1360

Recluse Fisherman, Autumn Trees

China


dated 1349


1973.121.13

元盛著秋江垂釣圖團扇

Sheng Zhu, Chinese, active late 14th century

Angling in the Autumn River

China


ca. 1370


1973.121.14

元吳鎮老松圖軸

Wu Zhen, Chinese, 1280–1354

Crooked Pine

China

Hanging scroll

dated 1335


1985.120.1

元王冕墨梅圖軸

Wang Mian, Chinese, 1287–1359

Fragrant Snow at Broken Bridge

China

Hanging scroll


1973.121.9

8


(10/31/2015-4/17/2016)

元唐棣摩詰詩意圖軸

Tang Di, Chinese, ca. 1287–1355

Landscape after a Poem by Wang Wei

China

Hanging scroll

dated 1323


1985.214.147

元羅稚川古木寒鴉圖軸

Luo Zhichuan, Chinese, active ca. 1300–30

Old Trees, Pheasants, and Crows in Winter

China

Hanging scroll


1973.121.6

明傳謝環杏園雅集圖卷

Xie Huan, Chinese, 1377–1452

Elegant Gathering in the Apricot Garden

China

Handscroll

ca. 1437


1989.141.3

元/明佚名竹鶴雙清圖軸

Unidentified Artist

Crane in a Bamboo Grove

China

Hanging scroll

14th–early 15th century


1991.378

9


(10/31/2015-4/17/2016)

明林良二鷹圖軸

Lin Liang, Chinese, ca. 1416–1480

Two Hawks in a Thicket

China

Hanging scroll

15th century

Hanging scroll; ink and pale color on silk

1993.385

明劉俊納諫圖軸

Liu Jun, Chinese, active ca. 1475–ca. 1505

Remonstrating with the Emperor

China

Hanging scroll


2005.494.3

明佚名鳥販圖軸

Unidentified Artist

Bird Peddler

China

Hanging scroll

late 15th–early 16th century


1998.48

明陳子和古木酒仙圖軸

Chen Zihe, Chinese, active late 15th–early 16th century

Drunken Immortal beneath an Old Tree

China

Hanging scroll

early 16th century


2005.494.4

10


(10/31/2015-4/17/2016)

清王原祁輞川圖卷

Wang Yuanqi, Chinese, 1642–1715

Wangchuan Villa

China

Handscroll

dated 1711


1977.80

清王翬等康熙南巡圖，第三卷: 濟南至泰山

Wang Hui, Chinese, 1632–1717

The Kangxi Emperor's Southern Inspection Tour, Scroll Three: Ji'nan to

Mount Tai

China

Handscroll

datable to 1698


1979.5a–d

清朱耷(八大山人) 魚石圖軸

Bada Shanren (Zhu Da), Chinese, 1626–1705

Fish and Rocks

China

Hanging scroll

dated 1699


1989.363.137

清朱耷(八大山人) 蓮塘戲禽圖卷


Birds in a Lotus Pond

China

Handscroll

ca. 1690

Handscroll; ink on satin

1989.363.135

清朱耷 (八大山人) 二鷹圖軸


Two Eagles

China

Hanging scroll

dated 1702


2014.721

11


(10/31/2015-4/17/2016)

清徐揚等乾隆南巡圖, 第六卷﹕大運河至蘇州

Xu Yang, Chinese, active ca. 1750–after 1776

The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering

Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi

Suzhou)

China

Handscroll

dated 1770


1988.350a–d

12

Rotation 2 二期: 5/7/2016–10/11/2016


(5/7/2016-10/11/2016)

北宋傳屈鼎夏山圖卷

Qu Ding, Chinese, active ca. 1023–ca. 1056

Summer Mountains

China

Handscroll

mid-11th century


1973.120.1

北宋郭熙樹色平遠圖卷

Guo Xi, Chinese, ca. 1000–ca. 1090

Old Trees, Level Distance

China

Handscroll

ca. 1080


1981.276

北宋徽宗竹禽圖卷

Emperor Huizong, Chinese, 1082–1135; r. 1100–25

Finches and Bamboo

China

Handscroll


1981.278

北宋黃庭堅草書廉頗藺相如傳卷

Huang Tingjian, Chinese, 1045–1105

Biographies of Lian Po and Lin Xiangru

China

Handscroll

ca. 1095


1989.363.4

五代傳董元溪岸圖軸

Dong Yuan, Chinese, active 930s–960s

Riverbank

China

Hanging scroll


L.1997.24.1

1


(5/7/2016-10/11/2016)

宋佚名倣李成寒林策驢圖軸

Unidentified Artist

Li Cheng, Chinese, 919–967

Travelers in a Wintry Forest ("Hanlin celü")

China

Hanging scroll

early 12th century


1972.121

北宋米芾草書吳江舟中詩卷

Mi Fu, Chinese, 1052–1107

Poem Written in a Boat on the Wu River

China

Handscroll

ca. 1100


1984.174

南宋米友仁雲山圖卷

元鮮于樞題米友仁雲山圖

Mi Youren, Chinese, 1074–1151

Cloudy Mountains

China

Handscroll

colophon dated to 1200


1973.121.1

南宋傳李唐晉文公復國圖卷

Li Tang, Chinese, ca. 1070s–ca. 1150s

Duke Wen of Jin Recovering His State

China

Handscroll

datable to early 1140


1973.120.2

南宋高宗草書天山陰雨七絕詩團扇

Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162

Quatrain on Heavenly Mountain

China


after 1162

Round fan mounted as album leaf; ink on silk

1989.363.6

2


(5/7/2016-10/11/2016)

南宋楊皇后楷書瀹雪凝酥七絕團扇

Empress Yang Meizi, Chinese, 1162–1232

Quatrain on Yellow Roses

China



1989.363.13

南宋傳閻次于松壑隱棲圖團扇

Yan Ciyu, Chinese, act. ca. 1164–81

Yan Ciping, Chibese, active 12th century

Hermitage by a Pine-covered Bluff

China



1973.121.12a, b

南宋梁楷澤畔行吟圖團扇

Liang Kai, Chinese, active first half of the 13th century

Poet Strolling by a Marshy Bank

China



1989.363.14

南宋佚名舊傳五代周文矩琉璃堂人物圖卷

Unidentified Artist

Scholars of the Liuli Hall

China

Handscroll

late 13th century


1977.49

宋傳趙克敻藻魚圖冊頁

Zhao Kexiong, Chinese, active early 12th century

Fish at Play

China

Album leaf

Album leaf; ink and color on silk

13.100.110

3


(5/7/2016-10/11/2016)

南宋佚名竹梅小禽圖團扇

Unidentified Artist

Sparrows, Plum Blossoms, and Bamboo

China


late 12th century


24.80.487

南宋馬和之詩經豳風圖卷

Ma Hezhi, Chinese, ca. 1130–ca. 1170

Odes of the State of Bin

China

Handscroll

Handscroll; ink, color, gold and silver on silk

1973.121.3

南宋李結西塞漁社圖卷

Li Jie, Chinese, ca. 1124– after 1191

Fisherman's Lodge At Mount Xisai

China

Handscroll

ca. 1170


1989.363.10a, b

南宋傳劉松年倣高克明溪山雪意圖卷

Liu Songnian, Chinese, active ca 1175–after 1195

Streams and Mountains Under Fresh Snow

China

Handscroll


1984.274

南宋佚名寒江釣雪圖軸

Unidentified Artist

Fishing on a Snowy River

China

Hanging scroll


L.1980.74

4


(5/7/2016-10/11/2016)

南宋金處士十王圖軸（之二）

Jin Chushi, Chinese, active late 12th century

Ten Kings of Hell

China

Hanging scroll

before 1195

One of five of a set of ten hanging scrolls; ink and color on silk

30.76.291

南宋金處士十王圖軸（之五）

Jin Chushi, Chinese, active late 12th century

Ten Kings of Hell

China

Hanging scroll

before 1195

One of five of a set of ten hanging scrolls; ink and color on silk

30.76.294

南宋佚名阿彌陀如來圖軸

Unidentified Artist

Buddha Amitabha Descending from His Pure Land

China

Hanging scroll

13th century


1980.275

北宋維摩詰經卷

Unidentified Artist

Vimalakirti Sutra

China

Handscroll

dated January 13, 1119

Handscroll; gold and silver on purple silk

47.18.2

南宋/元顏庚鍾馗嫁妹圖卷

Yan Geng, active late 13th century

The Demon Queller Zhong Kui Giving His Sister Away in Marriage

China

Handscroll


1990.134

5


(5/7/2016-10/11/2016)

元錢選王羲之觀鵝圖卷

Qian Xuan, Chinese, ca. 1235–before 1307

Wang Xizhi Watching Geese

China

Handscroll

ca. 1295

Handscroll; ink, color, and gold on paper

1973.120.6

元趙孟頫雙松平遠圖卷


Twin Pines, Level Distance

China

Handscroll

ca. 1310


1973.120.5

元趙孟頫行書右軍四事卷


Four Anecdotes from the Life of Wang Xizhi

China

Handscroll

datable to ca. 1310


1989.363.30

元王振鵬維摩不二圖卷

Wang Zhenpeng, Chinese, active ca. 1275–1330

Vimalakirti and the Doctrine of Nonduality

China

Handscroll

dated 1308


1980.276

元唐棣滕王閣圖卷

Tang Di, Chinese, ca. 1287–1355

The Pavilion of Prince Teng

China

Handscroll

dated 1352


1989.363.36

6


(5/7/2016-10/11/2016)

元夏永黃樓圖冊頁

Xia Yong, Chinese, active mid-14th century

The Yellow Pavilion

China

Album leaf

ca. 1350

Album leaf; ink on silk

1991.438.3

元鮮于樞草書石鼓歌卷

Xianyu Shu, Chinese, 1246–1302

Song of the Stone Drums

China

Handscroll

dated 1301


1989.363.29

元姚彥卿 (廷美) 雪山行旅圖軸

Yao Yanqing (Tingmei), Chinese, ca. 1300–after 1360

Traveling through Snow-Covered Mountains

China

Hanging scroll


2011.573

元張羽松軒春靄圖軸

Zhang Yu, Chinese, 1333–1385

Spring Clouds at the Pine Studio

China

Hanging scroll

dated 1366

Hanging scroll; ink and color on paper

1980.426.3

元趙原 (元) 晴川送客圖軸

Zhao Yuan, Chinese, active ca. 1350–75

Farewell by a Stream on a Clear Day

China

Hanging scroll

early 1370s


1973.121.8

7


(5/7/2016-10/11/2016)

元吳鎮蘆灘釣艇圖卷

Wu Zhen, Chinese, 1280–1354

Fisherman

China

Handscroll

ca. 1350


1989.363.33

元/明宋克草書負郭堂成七律詩卷

Song Ke, Chinese, 1327–1387

Poem on Retirement

China

Handscroll

Handscroll; ink on gold-flecked paper

1989.363.40

元趙原 (元) 倣燕文貴范寬山水圖卷

Zhao Yuan, Chinese, active ca. 1350–75

Landscape in the Style of Yan Wengui and Fan Kuan

China

Handscroll


1981.285.15

元/明沈巽竹石圖卷

Shen Xun, (active ca. 1370–1400)

Bamboo Grove

China

Handscroll


1981.285.16

元倪瓚江渚風林圖軸


Wind among the Trees on the Riverbank

China

Hanging scroll

dated 1363


1989.363.39

8


(5/7/2016-10/11/2016)

元倪瓚虞山林壑圖軸


Woods and Valleys of Mount Yu

China

Hanging scroll

dated 1372


1973.120.8

元王蒙素庵圖軸

Wang Meng, Chinese, ca. 1308–1385

The Simple Retreat

China

Hanging scroll

ca. 1370


2012.526.2

元鄧宇竹石圖軸

Deng Yu, Chinese, ca. 1300–after 1378

Bamboo and Rock

China

Hanging scroll

ca. 1360–67


1991.438.1

元李衎竹石圖軸二幅

Li Kan, Chinese, 1245–1320

Bamboo and Rocks

China

Hanging scrolls

dated 1318

Pair of hanging scrolls; ink and color on silk

1973.120.7a, b

9


(5/7/2016-10/11/2016)

明沈周溪山秋色圖卷

Shen Zhou, Chinese, 1427–1509

Autumn Colors among Streams and Mountains

China

Handscroll

ca. 1490–1500


1979.75.1

元/明吳伯理龍松圖軸

Wu Boli, Chinese, active late 14th–early 15th century

Dragon Pine

China

Hanging scroll

ca. 1400


1984.475.3

明夏昶清風高節圖軸

Xia Chang, Chinese, 1388–1470

Bamboo in Wind

China

Hanging scroll

ca. 1460


1989.235.1

明戴進雪歸圖軸

Dai Jin, Chinese, 1388–1462

Returning Home Through the Snow

China

Hanging scroll

ca. 1455


1992.132

10


(5/7/2016-10/11/2016)

明鍾禮觀瀑圖軸

Zhong Li, Chinese, active ca. 1480–1500

Scholar Looking at a Waterfall

China

Hanging scroll

late 15th century


1991.438.4

明杜堇伏生授經圖軸

Du Jin, Chinese, active ca. 1465–1509

The Scholar Fu Sheng Transmitting the Book of Documents

China

Hanging scroll

15th–mid-16th century


1991.117.2

明文徵明樓居圖軸

Wen Zhengming, Chinese, 1470–1559

Living Aloft: Master Liu's Retreat

China

Hanging scroll

dated 1543


L.2001.85.2

明陸治種菊圖軸

Lu Zhi, Chinese, 1495–1576

Planting Chrysanthemums

China

Hanging scroll

mid-16th century

Hanging scroll; ink and pale color on paper

1986.266.3

11


(5/7/2016-10/11/2016)

明董其昌溪山樾館圖軸紙本

Dong Qichang, Chinese, 1555–1636

Shaded Dwellings among Streams and Mountains

China

Hanging scroll

ca. 1622–25


1979.75.2

清王鑑仿古山水圖冊紙本

Wang Jian, Chinese, 1609–77 or 1688

Wang Shimin, Chinese, 1592–1680

Landscapes in the styles of old masters

China

Album

dated 1668

Album of ten paintings; ink and color on paper

1979.439a–o

清吳歷墨井草堂消夏圖卷

Wu Li, Chinese, 1632–1718

Whiling Away the Summer

China

Handscroll

dated 1679


1977.81

清徐揚等乾隆南巡圖, 第六卷﹕大運河至蘇州

Xu Yang, Chinese, active ca. 1750–after 1776

The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering

Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi

Suzhou)

China

Handscroll

dated 1770


1988.350a–d

清石濤 (朱若極) 十六羅漢圖卷

Shitao (Zhu Ruoji), Chinese, 1642–1707

The Sixteen Luohans

China

Handscroll

dated 1667


1985.227.1

12


(5/7/2016-10/11/2016)

13

12～17日 19～24日 26～１日 3～8日 10～15日 17～22日

番号指定筆者作品名時代所蔵者

中国書跡

王羲之

1 張芝八月帖（「玉煙堂帖」）　後漢・二世紀東京台東区立書道博物館2 鍾繇薦季直表（「真賞斎帖」火後本）　魏・黄初二年(221) 東京台東区立書道博物館3 鍾繇宣示表(「宋拓晋唐小楷」)　　魏・黄初二年(221) 奈良寧楽美術館4 重文李柏尺牘稿前涼・咸和三(328)or五年京都龍谷大学図書館5 国宝王羲之孔侍中帖東晋・四世紀東京前田育徳会6 王羲之十七帖（上野本）　東晋・四世紀京都国立博物館7 王羲之十七帖（王穉登本）　　東晋・四世紀東京台東区立書道博物館8 王羲之楽毅論（「小楷四種合冊」）　東晋・永和四年(348) 東京三井記念美術館9 王羲之蘭亭序（呉炳本）　東晋・永和九年(353) 東京国立博物館10 王羲之蘭亭序（開皇本）　東晋・永和九年(353) 東京三井記念美術館11 王羲之蘭亭序（韓珠船本）　東晋・永和九年(353) 東京台東区立書道博物館12 王羲之蘭亭序（呉平斎本）　東晋・永和九年(353) 東京三井記念美術館13 王羲之蘭亭序（頴井本）　東晋・永和九年(353) 東京三井記念美術館14 王羲之黄庭経　　東晋・永和十二年(356) 東京五島美術館15 王羲之集王聖教序（上野本）　唐・咸亨三年(672) 京都国立博物館16 王羲之集王聖教序（松烟拓本）　唐・咸亨三年(672) 東京三井記念美術館17 王羲之集王聖教序（黒川本）　唐・咸亨三年(672) 兵庫黒川古文化研究所18 王羲之集王聖教序整本　唐・咸亨三年(672) 埼玉淑徳大学書学文化センター

19 王献之地黄湯帖東晋・四世紀東京台東区立書道博物館南北朝～唐の写経

20 重文大智度論巻第八南北朝・五世紀京都国立博物館21 仏説歓普賢経南斉・永明元年(483) 東京台東区立書道博物館22 重文摩訶般若波羅蜜経巻第十四梁・天監十一年(512) 東京台東区立書道博物館23 大般涅槃経巻第十一隋・大業四年(608) 東京三井記念美術館24 妙法蓮華経巻第三唐・上元二年(675) 京都国立博物館25 妙法蓮華経巻第七唐・上元三年(676) 東京三井記念美術館

隋～唐26 国宝智　永真草千字文隋・六～七世紀27 智　永真草千字文（関中本）　隋・六～七世紀東京国立博物館28 虞世南孔子廟堂碑（臨川李氏本）　唐・貞観二年～四年(625-30) 東京三井記念美術館29 重文欧陽詢化度寺碑　唐・貞観五年(631) 京都大谷大学博物館30 欧陽詢九成宮醴泉銘（海内第一本）　唐・貞観六年(632) 東京三井記念美術館31 褚遂良孟法師碑（臨川李氏本）　唐・貞観十六年(642) 東京三井記念美術館32 褚遂良文皇哀冊　唐・貞観二十三年(649) 東京国立博物館33 国宝世説新書巻第六抄本唐・七世紀文化庁34 賀知章草書孝経唐・八世紀宮内庁三の丸尚蔵館35 顔真卿争坐位文稿　唐・広徳二年(764) 東京台東区立書道博物館

　宋36 蔡襄致杜君長官尺牘（離都帖）北宋・十一世紀台北國立故宮博物院37 蘇軾次弁才韻詩北宋・元祐五年(1090) 台北國立故宮博物院38 重文蘇軾李白仙詩北宋・元祐八年(1093) 大阪市立美術館39 黄庭堅王史二氏墓誌銘稿北宋・元祐元年（1086）/元符二年(1099)以後東京国立博物館40 黄庭堅致天民知命大主簿尺牘北宋・十一～十二世紀台北國立故宮博物院41 米芾紫金研帖北宋・建中靖国元年(1101)頃台北國立故宮博物院42 重文米芾草書四帖北宋・紹聖四年～元符二年(1097-99) 大阪市立美術館43 米芾虹県詩北宋・崇寧五年(1106)頃東京国立博物館44 米芾群玉堂米帖（上）　北宋・十一～十二世紀東京五島美術館45 米芾群玉堂米帖（下）　北宋・十一～十二世紀東京国立博物館46 呉琚急足帖南宋・十二世紀東京国立博物館47 国宝圜悟克勤与虎丘紹隆印可状南宋・宣和六年(1124) 東京国立博物館48 国宝虚堂智愚与照禅者偈頌南宋・景定三年～咸淳元年(1262-65) 東京国立博物館49 国宝張即之金剛般若波羅蜜経南宋・宝祐元年(1253) 京都智積院

元50 趙孟頫蘭亭十三跋元・至大三年(1310) 東京国立博物館51 趙孟頫仇鍔墓碑銘元・延祐六年(1319) 京都陽明文庫52 国宝趙孟頫与中峰明本尺牘元・十四世紀東京静嘉堂文庫美術館53 趙孟頫致中峰和尚尺牘　元・十四世紀台北國立故宮博物院54 重文一菴中峰明本像自賛元・延祐三年(1316) 兵庫高源寺55 中峰明本像自賛元・十四世紀56 鮮于枢七言絶句二首元・十三～十四世紀台北國立故宮博物院57 元人雑書台北國立故宮博物院

57‐1 康里巎巎致彦中尺牘元・十四世紀

57‐2 楊載水竜吟元・十四世紀

57‐3 周馳致義斎廉訪尺牘元・十四世紀

57‐4 袁桷呈承旨大参相公尺牘元・十四世紀

57‐5 虞集尺牘元・十四世紀

57‐6 饒介中峰幻住像偈元・十四世紀

58 楊維禎銭譜跋語元・十四世紀台北國立故宮博物院明

59 沈度楷書蘇軾墨君堂記明・永楽十六年(1418) 三重澄懐堂美術館

60 沈粲書古詩明・十五世紀台北國立故宮博物院61 沈周化鬚疏明・十五世紀～十六世紀台北國立故宮博物院62 祝允明臨黄庭経明・成化二十二年（1486) 三重澄懐堂美術館

63 祝允明臨王羲之帖明・正徳十五年（1520）台北國立故宮博物院64 祝允明草書七言律詩明・嘉靖四年(1525) 台北國立故宮博物院65 文徴明草書千字文明・嘉靖八年(1529) 台北國立故宮博物院66 文徴明楷書史記刺客列伝明・嘉靖十一年(1532) 三重澄懐堂美術館

67 文徴明自書七言律詩明・十六世紀台北國立故宮博物院68 文徴明行書前後赤壁賦明・嘉靖三十七年(1558) 台北國立故宮博物院69 陳淳草書杜甫秋興詩明・嘉靖二十三年(1544) 台北國立故宮博物院70 王寵辛巳書事七首明・嘉靖三年(1524) 台北國立故宮博物院71 王寵草書千字文明・嘉靖六年(1527) 台北國立故宮博物院72 徐渭赤壁賦明・万暦二十一年(1593)

73 董其昌尺牘稿明・十七世紀

王羲之から空海へ-日中の名筆漢字とかなの競演　出品予定作品諸事情により、出品作品および展示期間が変更になる場合がございます。

展示期間中、冊頁の頁替えや、巻子の場面替えを行う場合がございます。

展示期間（4月12日～5月22日）

74 董其昌臨十七帖明・十七世紀台北國立故宮博物院75 董其昌行書崑山道中書明・十七世紀三重澄懐堂美術館

明末清初

76 董其昌行書七言絶句明・十七世紀京都萬福寺

77 張瑞図草書五言律詩明・十七世紀台北何創時書法藝術基金會

78 張瑞図行書七言絶句明・十七世紀徳島県立文学書道館

79 黄道周行書五言律詩明・十七世紀台北何創時書法藝術基金會

80 黄道周草書答孫伯観詩明・十七世紀三重澄懐堂美術館

81 倪元璐行書左思蜀都賦明・十七世紀兵庫黒川古文化研究所

82 倪元璐行書七言絶句明・十七世紀台北何創時書法藝術基金會

83 王鐸行書贈単大年家丈清・順治四年(1647) 台北何創時書法藝術基金會

84 王鐸臨淳化閣帖明・十七世紀台北何創時書法藝術基金會

85 王鐸臨淳化閣帖清・順治六年(1649) 大阪市立美術館

86 王鐸臨王渙之二㛐帖清・順治七年(1650) 徳島県立文学書道館

87 傅山行草書李商隠詩清・十七世紀台北何創時書法藝術基金會

88 傅山嗇廬妙翰清・順治九年（1652）頃台北何創時書法藝術基金會

89 傅山太原段帖　清・康熙二十四年（1683）台北何創時書法藝術基金會

90 許友自詠詩清・順治十年（1656）広島ふくやま書道美術館

91 許友草書七言絶句清・十七世紀台北何創時書法藝術基金會

日本書跡

写経

92 国宝金剛場陀羅尼経飛鳥・丙戌年（686）文化庁

93 国宝金光明勝王経　巻第三・巻第四奈良・八世紀奈良国立博物館

94 国宝賢愚経残巻奈良・八世紀兵庫白鶴美術館95 隅寺心経奈良・八世紀京都国立博物館

96 国宝竹生島経（法華経序品）平安・十一世紀前期滋賀宝厳寺

97 重文色紙法華経巻第八平安・十一世紀中期兵庫白鶴美術館

98 重美中尊寺経（正法華経）平安・元永二年（1119）大阪大念仏寺

99 国宝扇面法華経冊子巻第一・巻第七平安・仁平二年（1152）頃大阪四天王寺

100 法華経　巻第一平安・十二世紀後期大阪市立美術館

101 神護寺経（大智度論）平安・文治元年（1185）京都神護寺

102 重文太山寺経（無量義経）鎌倉・十三世紀前期兵庫太山寺

三筆と最澄

103 国宝空海聾瞽指帰平安・延暦十六年（797）和歌山金剛峯寺

104 国宝空海風信帖平安・弘仁元年～四年（810-13）京都東寺（教王護国寺）105 国宝空海灌頂歴名平安・弘仁三年～四年（812-13）京都神護寺

106 国宝空海金剛般若経開題残巻平安・弘仁四年（813）？奈良国立博物館

107 国宝空海金剛般若経開題残巻平安・弘仁四年（813）？京都国立博物館

108 重文空海崔子玉座右銘平安・九世紀前期和歌山宝亀院

109 重文空海崔子玉座右銘平安・九世紀前期東京大師会

110 国宝澄久隔帖平安・弘仁四年（813）奈良国立博物館

111 国宝嵯峨天皇光定戒牒平安・弘仁1四年（823）滋賀延暦寺

三跡

112 国宝小野道風三体白氏詩巻平安・十世紀中期大阪正木美術館

113 国宝藤原佐理詩懐紙平安・安和二年（969）香川県立ミュージアム

114 藤原佐理国申文帖（女車帖）平安・天元五年（982）東京春敬記念書道文庫

115 重美藤原佐理頭弁帖平安・長徳四年（998）広島ふくやま書道美術館

116 国宝藤原行成白氏詩巻（後嵯峨院本）平安・十一世紀前期大阪正木美術館

117 国宝藤原行成本能寺切平安・十一世紀前期京都本能寺

118 藤原行成屏風詩歌切　平安・寛仁二年（1018）

仮名の進展と草仮名古筆

119 国宝稿本北山抄紙背仮名消息平安・長徳二年（996）～長保六年（1004）京都国立博物館

120 伝紀貫之自家集切（貫之集）平安・十世紀後期～十一世紀東京国立博物館

121 国宝伝小野道風秋萩帖平安・十一～十二世紀東京国立博物館

古筆手鑑

122 重文手鑑野辺のみどり　東京前田育徳会

123 重文手鑑かりがね帖文化庁

124 重文手鑑谷水帖大阪逸翁美術館

古筆Ⅰ

125 重美伝紀貫之高野切第一種（古今集巻第一）平安・十一世紀中期埼玉遠山記念館

126 重文伝紀貫之高野切第一種（古今集巻第一）平安・十一世紀中期福岡石橋美術館

127 国宝伝紀貫之高野切第一種（古今集巻第二十）平安・十一世紀中期高知県立高知城歴史博物館

128 重文伝藤原行成大字和漢朗詠集切平安・十一世紀中期京都北村美術館

129 重美伝藤原行成大字和漢朗詠集切平安・十一世紀中期東京国立博物館

130 国宝伝藤原忠家和歌体十種平安・十一世紀中期東京国立博物館

131 国宝伝藤原行成歌仙歌合平安・十一世紀中期大阪和泉市久保惣記念美術館

132 源兼行高野切第二種（古今集巻第二）平安・十一世紀中期

133 重美源兼行高野切第二種（古今集巻第二）平安・十一世紀中期京都陽明文庫

134 源兼行高野切第二種（古今集巻第三）平安・十一世紀中期東京三井記念美術館

135 国宝源兼行高野切第二種（古今集巻第八）平安・十一世紀中期山口毛利博物館

136 源兼行栂尾切（桂本万葉集断簡）平安・十一世紀中期京都野村美術館

137 源兼行栂尾切（桂本万葉集断簡）平安・十一世紀中期奈良大和文華館

138 源兼行雲紙本和漢朗詠集平安・十一世紀中期宮内庁三の丸尚蔵館

139 源兼行関戸本和漢朗詠集切平安・十一世紀中期東京五島美術館

140 源兼行関戸本和漢朗詠集切平安・十一世紀中期東京国立博物館

141 伝紀貫之高野切第三種（古今集巻第十八）平安・十一世紀中期東京静嘉堂文庫美術館

142 伝紀貫之高野切第三種（古今集巻第十八）平安・十一世紀中期兵庫香雪美術館

143 重文伝藤原行成蓬萊切（拾遺抄）平安・十一世紀中期東京五島美術館

144 伝藤原行成蓬萊切（拾遺抄）平安・十一世紀中期

145 伝藤原行成蓬萊切（拾遺抄）平安・十一世紀中期

146 国宝伝藤原行成近衛本和漢朗詠集平安・十一世紀中期京都陽明文庫

147 重美伝藤原行成伊予切（和漢朗詠集）平安・十一世紀中期埼玉遠山記念館

148 伝藤原行成伊予切（和漢朗詠集）平安・十一世紀中期

149 伝藤原行成伊予切（和漢朗詠集）平安・十一世紀中期京都北村美術館

150 伝藤原行成法輪寺切（和漢朗詠集）平安・十一世紀中期東京国立博物館

151 伝宗尊親王有栖川切（元暦校本万葉集）平安・十一世紀後期

152 伝紀貫之寸松庵色紙（古今集）平安・十一世紀後期

153 重文伝紀貫之寸松庵色紙（古今集）平安・十一世紀後期京都野村美術館

154 伝紀貫之寸松庵色紙（古今集）平安・十一世紀後期東京静嘉堂文庫美術館

155 伝紀貫之寸松庵色紙（古今集）平安・十一世紀後期京都泉屋博古館

156 伝藤原行成升色紙（深養父集）平安・十一世紀後期東京三井記念美術館

157 重文伝小野道風継色紙（古今集）　平安・十一世紀後期東京国立博物館

158 伝小野道風継色紙（古今集）　平安・十一世紀後期東京三井記念美術館

159 伝小野道風継色紙（古今集）　平安・十二世紀後期兵庫滴翠美術館

160 重文伝小野道風継色紙（古今集）　平安・十一世紀後期文化庁161 重文伝小野道風継色紙（古今集）平安・十一世紀後期大阪逸翁美術館

162 伝藤原行成関戸本古今集切平安・十一世紀後期大阪逸翁美術館

163 伝藤原行成関戸本古今集切平安・十一世紀後期東京国立博物館

164 国宝伝藤原行成曼殊院本古今集平安・十一世紀後期京都曼殊院

165 国宝伝小野道風本阿弥切（古今集）平安・十一世紀末～十二世紀初京都国立博物館

166 伝小野道風本阿弥切（古今集）平安・十一世紀末～十二世紀初東京五島美術館

167 重美伝小野道風本阿弥切（古今集）平安・十一世紀末～十二世紀初京都陽明文庫

168 伝藤原行成針切（重之の子の僧の集）平安・十一世紀末～十二世紀初大阪市立美術館

169 重文伝藤原行成重之集平安・十一世紀末～十二世紀初愛知徳川美術館

170 伝小野道風小島切（斎宮女御集）平安・十一世紀末～十二世紀初京都野村美術館

171 伝小野道風小島切（斎宮女御集）平安・十一世紀末～十二世紀初

172 伝小大君香紙切（麗花集）平安・十一世紀末～十二世紀初大阪逸翁美術館

173 伝小大君香紙切（麗花集）平安・十一世紀末～十二世紀初

174 伝小大君香紙切（麗花集）平安・十一世紀末～十二世紀初東京五島美術館

175 伝藤原公任下絵和漢朗詠集切平安・十一世紀末～十二世紀初

　古筆Ⅱ（世尊寺家等の仮名）

176 国宝藤原伊房十五番歌合平安・十一世紀後期東京前田育徳会

177 国宝藤原伊房藍紙本万葉集平安・十一世紀後期京都国立博物館

178 藤原定実(推定) 筋切・通切（古今集）平安・十二世紀初兵庫滴翠美術館

179 藤原定実(推定) 筋切・通切（古今集）平安・十二世紀初京都野村美術館

180 藤原定実(推定) 筋切（古今集）平安・十二世紀初東京国立博物館

181 藤原定実(推定) 通切（古今集）平安・十二世紀初

182 藤原定信石山切貫之集下平安・天永三年（1112）京都北村美術館

183 重文藤原定信石山切貫之集下平安・天永三年（1112）大阪和泉市久保惣記念美術館

184 藤原定信岡寺切(本願寺本三十六人家集・順集) 平安・天永三年（1112）東京根津美術館

185 伝藤原公任石山切伊勢集平安・天永三年（1112）

186 重美藤原伊行戊辰切（和漢朗詠集）平安・十二世紀後期京都泉屋博古館

187 重美藤原定信戊辰切（和漢朗詠集）平安・十二世紀後期

188 藤原教長今城切（古今集）平安・治承元年（1177）東京五島美術館

平安末・鎌倉の仮名

189 藤原俊成了佐切（古今集）平安・十二世紀後期

190 藤原俊成昭和切（古今集）平安・十二世紀末

191 重美藤原俊成日野切（千載集）平安・文治四年(1188)以後京都陽明文庫

192 国宝西行一品経和歌懐紙平安・寿永元年（1182）頃京都国立博物館

193 伝西行小色紙（俊忠集切）平安・十二世紀末東京春敬記念書道文庫

194 重文藤原俊成・伝西行・藤原定家小色紙三筆平安・十二世紀末京都冷泉家時雨亭文庫

195 重美藤原定家熊野懐紙鎌倉・建仁元年（1201）

196 藤原定家熊野懐紙鎌倉・建仁元年（1201）京都泉屋博古館

197 伝藤原顕輔鶉切（古今集）鎌倉・十三世紀埼玉遠山記念館

墨蹟

198 蘭渓道隆風蘭偈鎌倉・十三世紀東京五島美術館

199 一休宗純虚堂智愚普説語室町・15世紀東京出光美術館

200 慈雲飲光不能損一毛江戸・18世紀大阪新美術館建設準備室

201 白隠慧鶴青面金剛江戸・18世紀大阪新美術館建設準備室

202 白隠慧鶴寿字円頓章江戸・18世紀

寛永の三筆と大雅、良寛

203 近衛信尹檜原図屏風いろは屏風安土桃山・16世紀末京都禅林寺

204 本阿弥光悦花卉蝶摺下絵新古今集和歌巻江戸・17世紀前期京都野村美術館

205 本阿弥光悦書状江戸・慶長九年（1604）大阪城天守閣

206 松花堂昭乗三十六歌仙帖江戸・17世紀東京国立博物館

207 重美近衛家煕予楽院臨模手鑑江戸・17-18世紀京都陽明文庫

208 池大雅草書芝草詩江戸・18世紀後期京都府総合資料館（京文博保管）

209 良寛詩書屏風江戸・19世紀前期東京西新井大師

210 良寛自詠和歌江戸・19世紀前期東京西新井大師

211 良寛般若心経江戸・19世紀前期東京西新井大師

篆刻

212 左軍丞鉨戦国京都大谷大学博物館

213 竽鉨戦国京都大谷大学博物館

214 凌江将軍章漢京都大谷大学博物館

215 漢匈奴悪適尸逐王漢京都大谷大学博物館

216 関内侯印漢京都大谷大学博物館

217 駙馬都尉三国京都大谷大学博物館

218 陳豫鍾沈湖居清・嘉慶六年(1801)

219 趙之琛誦先人之清芬清・嘉慶七年(1802)

220 趙之琛大小二篆生八分清・十九世紀

221 徐三庚芙蓉盦清・十九世紀ふくやま書道美術館

222 徐三庚藜光閣清・十九世紀

223 呉昌碩蒲作英清・光緒十二年（1886）

224 呉昌碩観自得斎徐氏子静珍蔵印章清・光緒二十三年（1897）

225 呉昌碩蒲華清・光緒三十年（1904）

226 呉昌碩万事隨縁是安楽法民国九年（1920）

227 呉昌碩抱員天民国九年（1920）

228 呉昌碩美意延年民国九年（1920）

229 黄士陵学而不厭清・光緒二十八年（1902）

日　時：5月1日（日）午後2時～3時30分講　師：和泉市久保惣記念美術館館長　　　　大阪芸術大学教授　河田昌之　氏演　題：「行事とその画題　―年中行事と行事絵を中心に―」日　時：3月13日・27日、4月10日、5月8日・22日、

　　　　6月5日の各日曜日　午後2時～3時テーマ：「展示品の魅力を語る」当館学芸員によるスライド解説

講演会

日　時：5月中の毎週日曜日　午後1時～4時「拓本～紙と墨で写すかたち」「リバーシブル？！～作ってわかる屏風の裏技～」指導員：神戸学院大学人文学部大原ゼミ

ワークショップ日　時：5月15日（日）午後2時～3時30分講　師：神戸大学大学院教授　宮下規久朗　氏　テーマ：「西洋絵画に見る絨毯」

新館レクチャー

日　時：5月5日（祝・木）午後2時から演　奏：尺八・解説　岸本醍山　氏　　　　箏・十七絃・三絃　グループ「はなすいれん」テーマ：「楽に映し、楽を写す」

本館

映し、写しと文様の美～白鶴コレクションにみる東洋のこころ～

新館

美術品としての絨毯～文様の今昔～

こんじゃく

白鶴美術館春季展

美術に親しむ会

アート・トーク

演奏会

日　時：4月24日（日）午後1時30分～3時30分テーマ：「映す美術・写された美術」講師：当館学芸員

次回秋季展は2016年9月17日（土）から開催の予定です。ワークショップ・イベントのご見学及びご聴講は自由です。内容詳細につきましては、白鶴美術館（078－851－6001）にお尋ねください。

　今回は当館所蔵品を「うつし」のテーマでみてまいります。　映す道具である「鑑」の字形は、大きな水甕をのぞきこむ人を象ったものとされます。そして鑑物と称される歴史書の「鑑」のように、映しみる機能から転じて、認識し手本とする意味を含んでいます。　美術作品もまた、その時代の技術や思想・造形感覚を示す鏡といえるでしょう。すなわち、異なる素材であっても同じ文化における共通の表現や造形は、その思想を反映します。また、多くの優れた作品は、人びとの憧れの対象となり、手本となって写されました。　こうした美術の「写し」には、筆の正確さを求めた絵画の模写や、失われた材料や技術の再現を求めた近代の正倉院模品のように、先人の表現を学び、捉えようとしたものがあります。また、地域、時代・年代を経て伝播する類似の形状や文様、また古典の物語絵などにもみられるように、変容しつつ伝わることも「写し」がもたらす文化であるといえます。　この展示では「思想を映す」・「形を写す」というふたつのテーマを基に、個々の作品を作成された時代に照らしてご覧いただきます。東洋のこころを写す古美術、その写しもまた、「鑑」であり、それをみつめる私たちの文化を豊かにするものである、といえるのではないでしょうか。

　我々の日常生活にかなり浸透し、馴染みのある絨毯。絨毯をみる際、私たちは茫漠としたイメージで全体を捉えがちですが、そこには実に多種多様な文様が織り成されております。その中には、伝統を映し、写し続けられた文様と共に、製作時に革新的に生み出されたものもあります。また西洋絵画の中にも、モティーフの一つとして当時使われていた絨毯自体が写し込まれ、美術の歴史の展開の中で絨毯を捉えると、そこに重層的に存在する価値に気づくことができます。　本展示では、主に１９世紀後半～２０世紀初頭に製作された白鶴美術館所蔵のオリエント絨毯の悠久の歴史と清新な息吹に満ちた世界へと皆様をお連れします。

がくがく

かがみかたど

ろうかくじんぶつもんらでんごうす

「楼閣人物文螺鈿盒子」　元時代展示期間：4/19（火）～6/5（日）

はくどうかいじゅうぶどうきょう

「白銅海獣葡萄鏡」　唐時代のぎめてんもくちゃわん

「禾目天目茶碗」　南宋時代せいじぼたんもんおおばち

「青磁牡丹文大鉢」　明時代

しゅてんどうじえまき

「酒天童子絵巻」　下巻　江戸時代　展示期間：4/5（火）～5/8（日）

すみえのだんきゅう

正倉院模品　「墨絵弾弓」　森川杜園作　明治時代

イスファハン，ペルシア中央部（アーマッド工房）20世紀初期

フェルテェック，アナトリア中央部19世紀中期

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