藝術/文化/史ArtsInfo

12/30/2011 1. Happy New Year!!2. 感謝王靜靈、Uta Rahman-Steinert、盧慧紋、板倉聖哲、黃士珊所提供的資訊。部分訊息轉貼自Nixi Cura維護之Arts of China Consortium網站。

3. 目前原則上固定於每周五寄發，包括展覽、演講、會議議程與徵文、網路資源、徵人啟事等訊息，歡迎大家多多貢獻資訊。

4. 若有與藝術史或文化史相關的研究、演講、展覽、或會議之訊息，不論來自何地，都歡迎提供，我會將之轉給大家。雖然未必能與會，分散於天涯海角的我們卻可對各地情況有所瞭解。

5. 最新訊息以紅色標示，內容包括中(Big5)、英、日文(IME)碼。6. 本期更新: 展覽、演講、研討會。7. 如有其他同好對此電子報有興趣，請告知電子郵件地址，我將加入寄送名單中。若不願收到，也請告知，以方便作業。

展覽：■ 台灣1. 國立故宮博物院2. 國立臺灣美術館3. 世界宗教博物館■ 亞洲1. 香港藝術館2. 澳門藝術博物館3. 中國故宮博物院4. 京都國立博物館5. 名古屋松坂屋美術館6. 大和文華館7. 大阪美術館8. 東京國立博物館9. 韓國國立中央博物館■ 歐美1. Freer Gallery of Art2. The Metropolitan Museum of Art3. Honolulu Academy of Arts

4. Musée du Louvre 5. Asian Art Museum, National Museums in Berlin.

台灣1. 故宮博物院展覽：

http://www.npm.gov.tw/exhbition/object.htm1）精彩 100‧國寶總動員 展　期：2011/09/23 ~ 2012/01/03 第三期（C檔）展出時間為 2011/12/03 ~ 2012/01/03陳列室：105, 107, 202, 204, 206, 208, 210, 212展件清單請見:http://www.npm.gov.tw/exh100/treasures/cn/ch_08.html

2）康熙大帝與太陽王路易十四特展－中法藝術文化的交會 展　期：2011/10/03 ~ 2012/01/03 陳列室：圖書文獻大樓一樓特展區（週一不休館，全年無休）

十七世紀後半至十八世紀初期，歐亞大陸東端的中國與西端的法國，各自引領著東方與西方文化與藝術發展的風潮。此時中國的君主是清聖祖康熙大帝，法國的君主是太陽王路易十四。

兩位君王的生平事蹟有著驚人的相似之處。他們都是幼沖登基，一由祖母、一由母后撫育、輔政，將兩位幼年君王培育成允文允武、仁民愛物、雅好藝術的全能君主。他們親政前各自有權臣主政，親政後皆夙夜匪懈、戮力國政，並且各自鞏固了愛新覺羅家族與波旁王室的帝王權力。

當時分居兩地的君王經由法國耶穌會士架起的無形橋樑，有了間接的接觸。透過傳教士們的推介，路易十四對康熙皇帝有了比較清晰的認識，法國朝野人士也興起對中國文化與藝術的好奇與模仿。在傳教士的講授下，康熙皇帝認識了西方的科學、藝術與文化，並推而廣之，使得當時清朝臣民中不乏潛心學習西學之士。 為了慶賀建國百年，本院特籌畫、推出本項展覽，除了選展八十三件院藏文物外，

北京故宮博物院、上海博物館與瀋陽博物院分別提供二十件、十件與兩組件文物參展，另外也向香港私人收藏家商借一件藏品參展。除了兩岸三地的文物外，也遠自法國的國家圖書館與十二個博物館商借七十四組件文物參展。除此之外，法國外交部珍藏一封路易十四寫給康熙大帝的信函，因去年（2010）曾展出，故此次特精心複製後共襄盛舉。

在藉文物述說文明的原則下，展覽分成四大單元，第一單元開宗明義地介紹康熙大帝與太陽王路易十四的個人、家庭、重要事功等；第二單元闡述當時法國耶穌會士在兩位君王間架起的無形橋樑；第三單元重點述說經由傳教士與商旅的推介，中法兩國在文化與藝術方面的直接接觸與模仿；第四單原則舉例詳述雙方交會後各自創發的成果。

希望藉由這次特展，讓世人進一步瞭解在十七世紀後半至十八世紀初期的這個時候，東西兩大君王在法國耶穌會士的穿梭與推介下，中法雙方在文化與藝術方面的交會，以

及交會後迸發出的燦爛火花。 3）「得佳趣－乾隆皇帝的陶瓷品味」特展展期：2011年 11 月 1日 ~ 2012年 9 月 30日陳列室：203

「得佳趣」為乾隆皇帝鑑賞璽印，其印文的意涵為從鑑賞文物中感受美好的視覺經驗與樂趣清高宗乾隆皇帝生於 1711年、卒於 1799年，在位六十年（1736-1795）。退位之後又當了三年的太上皇帝，仍然掌握政權。是長壽且在位時間長的皇帝，因此有十八世紀皇帝的稱號。在位時，曾經親自考訂文物，投入大量人力、物力，建置清宮典藏；故也有人把他看成是首席博物館館員。特別是分別收藏於國立故宮博物院、北京故宮博物院和瀋陽故宮、熱河行宮，與南京博物院中的傳世藏品，因多數皆可追溯出乾隆皇帝親手典藏的痕跡，而明顯地反映出他鑑賞文物的經過。 這個展覽就是透過有跡可循的鑑賞印記，展出本院典藏鐫刻乾隆御製詩的陶瓷，和能與陶瓷圖冊對照的作品。藉由乾隆皇帝御覽陶瓷的軌跡，瞭解他的鑑賞品味。整個展覽以乾隆皇帝的陶瓷鑑賞觀做為主軸，並且依照他御覽之際所規範出的兩種不同整理方式，將展覽分成兩個單元。第一單元「以詩為記」，主要展出本院所藏刻詩陶瓷；第二單元「再現品味」，展出陶瓷圖冊中所畫的瓷器。 「以詩為記」單元中，因御製詩旨在傳達乾隆皇帝對陶瓷的歷史知識、鑑賞觀，以及寓意其中的處世與為君之道。這些他所觀察到的表象特徵與他所理解的窯口，都體現出他對於不同屬性陶瓷的觀感。以今天的陶瓷史視野來看，經過乾隆皇帝御覽鑑賞刻有御製詩的陶瓷，其窯口涵蓋定窯、汝窯、官窯、哥窯、鈞窯和明朝宣德官窯等製品，明顯流露出他降旨鐫刻御製詩，以及對於名窯作品的選擇，深受晚明陶瓷鑑賞觀所影響。 同時也因詩中屬意的多為北宋汝窯、南宋官窯和南宋官窯系列作品，故詩中有對於宋朝宮廷用瓷的歌詠，有南北政權嬗遞的自我警惕與反省思維，也有一再強調鑑賞陶瓷決非玩物喪志；而乾隆皇帝探索官窯脈絡的過程中，除了將北宋汝窯當作理想的官窯典範外，也一路上溯至舜做陶於河濱的故事，意圖透過河濱遺範連結以德治理天下的情操，表達出鑑賞陶瓷，實有效法聖人楷模的深遠意義。 展覽第二單元「再現品味」，因清宮留存的陶瓷圖冊，是乾隆皇帝降旨繪製，故也能視為鑑賞記號，印證畫中瓷器經過乾隆皇帝御覽觀看，以及鑑賞的看法。 總之，藉由具體的鑑賞印記，可以瞭解乾隆皇帝把陶瓷當作宣傳個人藝術品味和施政理念的媒介，其最大目的應該是想要藉此粉飾搜求藏品的舉動，以建立個人的聖王形象。

4）妙奪化機－呂紀繪畫展 展期：2012/01/10 ~ 2012/03/25 陳列室：212呂紀，字廷振，號樂愚，亦作樂漁，浙江寧波人，是明代中葉著名的宮廷畫家。他的

生平事蹟不詳，僅從相關人士的傳記和在宮中職位的升遷推斷可能生於明宣宗宣德四年（1429），約卒於孝宗弘治十八年（1505）。憲宗成化（1465-1487）晚期已入宮，孝宗弘治（1488-1505）間值仁智殿，官至錦衣衛指揮，十分受到賞識，曾因病受到帝王的持續關切問候，而自言：「渥恩難勝，吾其死矣。」；詩人杭淮（1462-1538）在

《雙溪集》＜題杏花圖＞詩也有「近時呂紀畫最好」之句。 　 根據歷史記載呂紀的繪畫初學 明初重 要的宮廷花鳥畫家邊文進（約 1356-約1428），並曾於同鄉皇家相士袁忠徹（1376-1458）家中臨賞唐宋名蹟，在宮中也向林良（約 1424-1500之後）學習，終發展出結合工筆與寫意，富麗和渾樸的自我風格。他擅於情境的表現，用筆以中鋒為主，圓挺有力；色澤鮮明亮麗，卻不失溫潤沈厚。 呂紀任職宮中，奉召作畫，為了應付宮中大量畫作的需求，可能成立工作坊，由助手協助完成應制之作。而作為受帝王喜愛的宮廷花鳥畫家，他的作品也成為學習的對象，不但影響明、清時期的花鳥畫，甚至及於日本。傳世作品中，有部份是他與其他宮廷畫家的合作畫，也有許多是借用其名，或偽仿之作。 仿效呂紀的作品，常以雁鴨、鷺鷥搭配芙蓉、柳樹及蘆葦為題材，畫風或近於邊文進的設色工筆，或近於林良的水墨寫意，呈現呂紀作品常見的煙嵐瀰漫或清新明麗的氛圍。本次展覽除了展出呂紀的花鳥代表作外，也選展數幅仿作，用以呈現呂紀的藝術及其影響。

5）典藏新紀元－歷年入藏書畫精品展 展期：2012/01/20 ~ 2012/04/23 陳列室：105, 107

本院所藏書畫，承自清代內府，為歷代宮廷所累積的精品，典藏豐贍，質量精美。民國三十八年（1949）故宮文物隨國民政府遷臺之後，持續擴充典藏，積極購藏書畫文物，並且接受社會各界賢達、藏家及機關團體之捐贈，迄今受贈藏品已近二千五百件，購藏作品也已逾一千九百件。

新添藏品拓展了本院原有收藏範圍，其中有散佚民間的清宮舊藏；也有院藏原本較為匱乏的明末遺民作品；更有本院一直以來極欲擴充的十九世紀以來的書畫作品，除了有多元風貌的清末民初名家佳作，也包含遷臺以來重要書畫家的諸多精品。這些各界所捐贈的書畫，延展了本院藏品的時間縱軸，加上內容豐富且多元，充分反映出歷史演變的軌跡，為國立故宮博物院之典藏，開創了一個新紀元。

博物館豐富的收藏，遠非一日之功。有感於社會各界熱心人士慷慨捐贈，近年來於本院書畫展區開闢專室，輪流展出受贈、寄存的新典藏。本次「典藏新紀元－歷年入藏書畫精品展」，精選歷年入藏書畫精品，除了向許多不存於私的捐贈者致敬外，也展示本院多年來積極徵集藏品的成果，更企望各界人士共襄盛舉，使本院成為全民共享的博物館。

6）丁觀鵬摹顧愷之洛神圖

展期：2012/01/10 ~ 2012/03/25

陳列室：208

丁觀鵬（活動於 1726-1770），順天（今北京）人。雍正四年（1726）任職畫院，工人物，擅道釋像，山水界畫工整細緻，曾從郎世寧學畫，深受西法影響，乾隆六年（1741）擢升為「一等畫畫人」。《清史稿》云：「畫院盛于康、乾兩朝，以唐岱、郎世寧、張宗蒼、金廷標、丁觀鵬為最。」乾隆帝評丁觀鵬「善臨摹，兼工設色」。此次展出〈摹顧愷之洛神圖〉卷，即丁觀鵬臨摹內府所藏古畫的代表性佳作。 〈洛神圖〉是以曹植（192-232）著名的愛情詩篇〈洛神賦〉為題材所創作的繪畫作品。

賦文內容描寫黃初三年（222），曹植覲見魏文帝後，自洛陽啟程，東歸封地鄄城，途

經洛水之時，邂逅洛水女神宓妃並與之相戀，互傾愛慕之情，惟人神道殊、終致別離。本幅依情節發展擘畫場景如下：休憩、驚豔、嬉戲（採芝、桂旗）、眾靈（戲流、翔渚、湘妃、游女）、徬徨、備駕（屏翳、川后、馮夷、女媧）、離去、悵歸（泛舟、夜坐、東歸）；經比對敘事結構與景物關係，丁觀鵬奉敕臨摹的稿本應是北京故宮所藏〈傳顧愷之洛神圖〉卷。丁觀鵬此卷雖是摹本，然山水造型已自樸拙稚趣的古典畫樣，轉為成熟的金碧山水，且景物間的比例關係已趨精確；援以西洋明暗設色法與定點透視法，表現臉部五官、馬匹體態與空間層次，營造合乎視覺經驗的畫面。

歷代以〈洛神賦〉為文本的畫作不計其數，清宮畫院初試西法，以鮮明的時代性格，賦予摹本新意，乾隆御題讚：「見說後生畏，誰云前藝空。」以古典圖式與傳統母題，融合西方畫技，正是清宮「摹古創新」的最佳範例。

2. 國立臺灣美術館畫家風景．國民風景－百年台灣行旅

展期： 2011/07/09 ~ 2012/03/31 地點： A3展覽室 http://www.ntmofa.gov.tw/chinese/ShowInfomation1_1.aspx?

SN=3258&n=10043

3. 世界宗教博物館智慧華嚴 ─ 首都博物館佛教文物珍藏特展展期：2011年 11 月 09日至 2012年 02 月 19日

2011年 11 月館慶，宗博館將與北京首都博物館攜手舉辦「智慧華嚴 ─ 首都博物館佛教文物珍藏特展」，每一件典藏精品，皆蘊含智慧的種子，如同華嚴世界的縮影。既是兩岸博物館交換典藏展覽的美意盛事，也以此沉澱、回歸創建世界宗教博物館的初衷本心，並持續邁步未來十年。

首都博物館百餘件北京出土與傳世的佛教文物，內容涵蓋漢傳、藏傳精品，品類齊全，風格多樣、工藝精湛，不僅反映五朝帝都佛教藝術的恢弘氣度，亦構築起慈悲與智慧的莊嚴世界。2012年宗博館也將規劃具有在地特色的專題展覽，至首都博物館展覽，兩方以展覽作為媒介，展現深厚的文化底蘊以及藝術美感；同時，亦規劃與展覽相應之專家學者文化講座、專刊出版等推廣活動，以促進兩岸宗教文化藝術以及博物館專業之交流。

一花一世界，一葉一菩提。此次我們遴選的 102件佛教文物，猶如佛教華嚴世界的一花一葉，件件具有豐富而深邃的文化內涵，不僅充分體現了佛教思想追求、道德崇尚和審美意趣，而且全面展現了中國漢藏社會政治、經濟、文化等豐富的歷史資訊。透過這一件件文物，我們真心希望您獲得豐富的佛教歷史文物知識，體味佛教莊嚴神聖、寧靜安詳的藝術魅力，感悟佛教慈悲與智慧精神的真諦。亞洲

1. 香港藝術館

墨韻國風 — 潘天壽藝術回顧展展期：2011年 11 月 25日至 2012年 2 月 5日陳列室：當代香港藝術展覽廳 (二樓)

潘天壽（1897 – 1971）是現代中國畫史上舉足輕重的人物，與黃賓虹、齊白石同被譽為傳統派四大家。潘天壽的書畫是自學成家的，他繼承傳統個性派和金石派，融花鳥、山水於一體，用筆生辣、構圖大氣磅礡，展現奮發圖強的時代精神，賦予作品強烈的現代格調。他對中國藝術傳統的提升，影響深遠。潘氏畢業於浙江第一師範學校，其後歷任上海美專國畫系教授、上海新華藝術學院教

育系主任、杭州國立藝術院中國畫主任教授、國立藝專校長、浙江美術學院院長等。他是中國書畫傳統的堅定捍衛者，亦是中國畫現代教育的奠基人，他對中國藝術教育的貢獻，意義重大。是次展覽精選 36件來自杭州潘天壽紀念館收藏的潘天壽不同時期書畫代表作和多種珍貴文獻，讓觀眾飽覽潘氏不同藝術階段的創作歷程。當中既有早年受吳昌碩影響的《枯竹圖》和 1920至 1930年代在上海及杭州任教時期的山水畫，亦有他享負盛名的指墨禿鷹和荷花，更有經典巨幅如《鐵石帆運圖軸》、《夏塘水牛圖卷》及《雄視圖軸》等。

2. 澳門藝術博物館玉貌清明－－故宮珍藏兩宋瓷器精品展展期： 2011年 12 月 8日開始 是次展覽是中國陶瓷史上瓷藝高峰的一次縱覽，展出故宮博物院珍藏兩宋宮廷及民間瓷器精品共一百八十七件。觀眾可透過兩宋時期宮廷與民間的瓷器，細味千年前仍歷久彌新的沉靜端雅與豐富多姿。

3. 中國故宮博物院 明代花鳥畫展 展期：2011-11-30～2012-2-28 陳列室：延禧宮古書畫研究中心展廳故宮博物院收藏有豐富的中國古代書畫。其中既有晉唐宋元的稀世孤本，也有明清各個畫派名家的代表作品，可以清晰、系統地反映中國古代書法與繪畫藝術發展的脈絡。為了感受經典，分享中國書畫藝術的美輪美奐，展示中華傳統文化的博大精深，我們將分批展出歷代書畫家的精品佳作，以供廣大觀眾研究、欣賞。

4. 京都國立博物館

[特別展覧会]中国近代絵画と日本

平成 24 年 1 月 7 日（土）～2 月 26 日（日）

会場：特別展示館

中国の近代を中心に活躍した呉昌碩、斉白石、高剣父、徐悲鴻等の絵画作品を、当館

が近年受贈した須磨コレクションを中心に展示し、その多彩な展開を追います。西洋

の近代物質文明の衝撃は、旧態依然とした中国の社会全体を揺さぶり、変革を促しま

した。近代画壇における改革のリーダーとなった陳師曾、高剣父、徐悲鴻等は日本と

の関係が深く、中国絵画の近代化に果たした日本の役割は決して小さくありません。

この展覧会をとおして近代における日中文化交流の一面をご理解いただければ幸いで

す。

5. 名古屋松坂屋美術館地上の天宮　北京・故宮博物院展

展期：2011年 12 月 3日（土）～2012年 1 月 22日（日）http://www.matsuzakaya.co.jp/nagoya/museum/2011kokyu/

6. 大和文華館

1）書の美術

展期：2012 年 1/6（金）～2/19（日）

華麗な装飾経典、人柄を偲ばせる高僧の遺墨、流麗な公家の書など、墨蹟には時代や

地域によって異なる美意識が現れています。館蔵の書蹟の名品、中世史研究者であっ

た故中村直勝博士蒐集の古文書（双柏文庫）を中心に、書の流れをたどります。

2）花の美術

展期：2012 年 2/25（土）～4/8（日）

文華苑に梅や桜の咲く美しい季節に、花を表した絵画や工芸を展示します。梅と桜を

中心に、寒さの中に咲く椿、泥の中より美しく咲く蓮、花の王者・牡丹など、様 々な

花をモチーフとした華やかな作品が並びます。

7. 大阪美術館

1）中国拓本－師古斎コレクション　

展期：2012 年 1 月 7 日－2 月 5 日

「中国拓本－師古斎コレクション」では、大阪出身の実業家岡村蓉二郎(号師古斎)から譲渡されたコレクションを中心に陳列を行う。

2）中国工芸５０００年―金属・陶磁器の多彩な表現

　 会期：2012年 1月 7日（土）～ 2012年 2月 5日（日）網 址 ： http://www.osaka-art-museum.jp/special/

240107chuugokukougei.htm

8. 東京国立博物館

特別展「北京故宮博院 200 選｣ 　 展期：2012年 1 月 2日（月） ～ 2012年 2 月 19日（日）陳列室：平成館 特別展示室 日中国交正常化 40 周年を迎える 2012 年、東京国立博物館は北京故宮博物院の名品

展で幕を開けます。

明時代の永楽帝(えいらくてい)から清時代の宣統帝溥儀(せんとうていふぎ)まで 24人の皇帝が居城とした紫禁城(しきんじょう)に由来する北京故宮博物院は、壮麗な宮

殿建築と 180万件を超えるコレクションを誇ります。

この展覧会では、それらの貴重な文物から選りすぐりの名宝 200件が出品されます

二部で構成されるうち、第 1部では、今まで門外不出とされていた宋・元時代の書画

41件(一部展示替あり)の展示をはじめ、宮廷絵画や文人画の名品、書のファン必見

の宋三家、元代文人の名品を一挙公開します。青銅器や玉器、陶磁器、漆器、琺瑯器、

染織品といった多彩な分野の傑作も揃う、まさに北京故宮展の決定版というにふさわ

しいラインナップです。第 2部では、清朝最盛期を築いた乾隆帝の 4つの肖像画を

軸に、清朝の豊かな世界観を読み解きます。数々の名品とともに描かれた肖像画「是

一是二図」を、現存する作品によって再現するコーナーも必見です。

中国文明の粋が凝縮された「皇帝のコレクション」をぜひご堪能ください。

展示作品： http://www.tnm.jp/modules/r_free_page/index.php?id=1443

9. 韓國國立中央博物館중국 사행을 다녀온 화가들（出使中國的畫家們）展期：2011-10-27~2012-01-15陳列室：書畫館繪畫室將展出作為朝鮮時代派出的 500餘批大型使節團的成員，畫家們被派往中國親身接觸和體驗當地文化後創作的作品。我們可以從中一窺畫家們創造性地演繹和體現出來的中國文化與韓國式美學，還可以看到畫家們在使團中的作用等。

歐美1. Freer Gallery of Art1）Seasons

December 18–March 4, 2012Highlighting the permanent collection, this series of exhibition underscores the importance of the seasons in Chinese and Japanese art and culture.Chinese LandscapesJuly 2, 2011–January 8, 2012View paintings of Chinese flowers native to each season.Japanese ScreensAnd July 9, 2011–January 22, 2012Two rotations highlight screens painted to represent various times of year.Arts of JapanSeptember 3, 2011–March 4, 2012From springtime cherry blossoms to autumnal scarlet maples, see how

seasonal associations permeate Japanese poetry, art, and customs.2）Shipwrecked: Tang Treasures and Monsoon Winds

Spring 2012Arthur M. Sackler Gallery The Smithsonian's Freer Gallery of Art and Arthur M. Sackler Gallery in Washington, D.C., the Singapore Tourism Board, and the National Heritage Board of Singapore announced a partnership to organize the first exhibition and international tour of one of the oldest and most important marine archaeological finds of the late 20th century.The exhibition will focus on the 1998 discovery of a ninth-century shipwreck and its astonishing cargo of over 60,000 objects from Tang dynasty China, ranging from mass-produced ceramics to rare and extraordinary items of finely worked gold. The cargo has laid undisturbed on the ocean floor for more than 1,100 years until sea-cucumber divers discovered it off the coast of Indonesia's Belitung Island. The ship, an Arab dhow, and its contents confirm the existence of a direct maritime trade route (alluded to in ancient Chinese and Arabic texts) from China to the Gulf and beyond — well before the Portuguese set sail in the 15th century.The discovery offers scholars and scientists an unprecedented time capsule of knowledge about the period and a wealth of unanswered questions that will fuel research for decades to come.The grand opening of the exhibition will take place in Singapore in early 2011. The Sackler Gallery will host the U.S. premiere in spring 2012, coinciding with the museum's 25th anniversary celebration. The exhibition is expected to travel for about five years to major museums in Asia, the United States, Europe, the Middle East, and Australia.

3）Family Matters: Portraits from the Qing CourtJune 11, 2011–January 16, 2012Sixteen paintings of emperors, empresses, princes, and princesses represent three generations of the Qing dynasty imperial family, from the early to mid-eighteenth century. Almost evenly divided between images of men and women, the portraits—some nearly life-size—show the royal family members dressed in either the elaborate formal robes required for attendance at court or more casual attire at moments of leisure. The women are generally depicted wearing sumptuous embroidered robes and fabulous jewelry made of gold and pearls or inlaid with dazzling turquoise kingfisher feathers. The men are shown riding horses, relaxing in a

garden or boat, meditating quietly with rosary beads, or seated in a formal setting among their favorite possessions.

4）Chinese Ceramics: 10th-13th CenturyOpens November 5, 2011Potters in both north and south China perfected the skills needed to control and modulate ceramic glazes—in shades of white, green, blue, brown, and black—during the Song dynasty (960–1279). In some modes, the glaze complemented carved or incised decoration; in others, its purity of color became a focal point on its own. Two dozen Chinese ceramics from the Freer collection highlight these glazes and the skills of Song dynasty artisans.

5）Silk Road Luxuries from ChinaOpens November 5A vast network of caravan trails has long linked the oasis settlements spread across the Central Asian desert. For nearly two millennia these trade routes, now collectively known as the Silk Road, facilitated the spread of Buddhism and provided a course for the long-distance exchange of luxury goods between merchants and traders in China and the West. The impact of foreign imports on the arts of China is particularly apparent in objects dating from the sixth through eighth century, when Chinese craftsmen explored new materials, techniques, forms, and decorative patterns. They also began to use silver and gold for tableware and other functional objects. Exceptional examples of this phenomenon are now on view in the Freer Gallery. Most were made in the vicinity of the Tang capital at Chang’an (modern Xi’an) and attest to the cosmopolitan tastes of Chinese elites interested in foreign styles and customs.

6）Winged Spirits: Birds in Chinese Painting February 11–August 5, 2012In Chinese culture many birds are endowed with strong symbolic associations, both on their own and especially in combination with certain auspicious flowers. In the tenth century, birds and flowers emerged as major themes in traditional Chinese painting. At first such images were based on the close observation of nature and employed fine detail and color; later they derived from the painting tradition itself and often were rendered in only ink. While the primary interest of many artists was to capture the essence or spirit of their subjects, most birds in the paintings can be scientifically identified. More than thirty-five species of birds are depicted in flight, on the ground or in water, or perched on tree branches.

2. The Metropolitan Museum of ArtThe Art of Dissent in 17th-Century China: Masterpieces of Ming Loyalist Art from the Chih Lo Lou CollectionSeptember 7, 2011–January 2, 2012Galleries for Chinese Painting and Calligraphy, 2nd floor

The collapse of the Ming dynasty (1368–1644) and subsequent conquest of China by semi-nomadic Manchu tribesmen from northeast of the Great Wall comprised some of the most traumatic events in Chinese history. This wrenching era also spurred an enormous outpouring of creative energy as many former Ming subjects turned to the arts to express their loyalty to the noble but doomed cause of Ming restoration and to assert their defiance and moral virtue. Drawn from one of the finest and most comprehensive private assemblages of the art of the Ming-Qing transition, this exhibition will showcase more than sixty landscape paintings and calligraphies that highlight the intensely personal styles created by the leading artists of that time. Particularly noteworthy are the clusters of exceptional works by Huang Daozhou, Hongren, Bada Shanren (Zhu Da), and Shitao.The Manchu conquest followed several decades of political weakness at the Ming court that had left large portions of the country in chaos. When the capital in Beijing fell to a Chinese bandit army in 1644, Manchu forces poised along the Great Wall routed the rebels but then continued their march southward. After crushing Ming resistance in the city of Yangzhou, which was burned for ten days as an example, the southern capital of Nanjing surrendered, but it took another forty years to suppress various Ming claimants to the throne and to quell armed rebellions in the south.During this time, many former Ming subjects maintained their loyalty to the fallen regime by refusing service under the Manchu Qing ("pure") dynasty (1644–1911). To endure the often harsh conditions of alien rule, these so-called leftover subjects took psychological as well as physical refuge in nature, and their representations of landscape often project their emotional responses to this radically changed world order. In transforming painting and calligraphy into vehicles for self-expression, they demonstrated a remarkable independence from traditional styles and techniques. For this reason, they have been celebrated as visionary individualists, whose styles have remained influential down to the present day.

In order to provide an appropriate aesthetic and intellectual context for the material, the exhibition will be organized into five thematic or regional groupings: Ming Martyrs; The Yellow Mountain and Nanjing Regional Schools; Guangdong Artists; Monk Painters; and Jiangsu and Zhejiang Artists.The works featured in the exhibition were collected in the 1950s and 1960s by the late Hong Kong collector Ho Iu-kwong (He Yaoguang, 1907–2006), who named his studio the Chih Lo Lou or "Hall of Supreme Bliss." The collection is now held in a nonprofit public entity administered by Mr. Ho's descendants.

3. HONOLULU ACADEMY Masterpieces of Landscape Painting from the Forbidden City Nov. 3, 2011-Jan. 8, 2012Exquisite 700-year-old brush paintings that changed Chinese painting forever leave China for the first timehttp://honoluluacademy.orgHONOLULU, HAWAI'I—After more than a year of planning and organizing with the Palace Museum in Beijing, the Honolulu Academy of Arts presents the collaborative exhibition Masterpieces of Landscape Painting from the Forbidden City.The landmark exhibition is inspired by the goal of the Asia-Pacific Economic Cooperation Leaders Summit (APEC), being held concurrently in Honolulu Nov. 8-13, to encourage cooperation among the nations of the Pacific region. This art-world example of Asian-Pacific cooperation is co-curated by Dr. Shawn Eichman, Curator of Asian Art at the Academy, and Drs. Li Shi and Fu Dongguang from the Paintings and Calligraphy Department of the Palace Museum. The exhibition includes 56 paintings from the Palace Museum, which has the largest collection of Chinese paintings in the world, and 20 paintings from the renowned collection of the Honolulu Academy of Arts. Together, these works reveal a painting revolution that happened in China during the 13th and 14th centuries, and forever changed the course of the arts, with its influence still felt today.At the heart of the exhibition is a group of rare, early works by the four most influential artists of the Yuan dynasty (1271-1368), known as "the four Masters of Yuan Dynasty Painting"— Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng.  

These works have never before been allowed to travel outside China, and are not regularly displayed in the Palace Museum. Similarly, this will be the first time that any of the exhibition's later Ming (1368-1644) and Qing (1644-1911) dynasty paintings from the Palace Museum will be included in an international exhibition.The Four Masters are among the most revered artists in Chinese history. They are paragons of the scholar-amateur or "literati" style that characterizes the highest ideals of Chinese painting, and represents a quintessential aspect of Chinese culture. Masterpieces of Landscape Painting From the Forbidden City showcases paintings by these iconic artists and explores their influence on later generations.The Yuan dynasty marks the first time China was invaded and ruled by a foreign power—the Mongols. (The Manchus later also took over the country.) The political and social changes of this tumultuous time led to the Four Masters' groundbreaking artistic vision. They developed a new way of seeing the natural world, and their artistic expression is in many ways reminiscent of Impressionism, although it precedes the Impressionists by five centuries. Free of the restrictions of court patronage, Chinese artists at the time were no longer dominated by academic tradition and could put more of themselves into their work.

4. Musée du LouvreLa Cité interdite au Louvre - Empereurs de Chine et rois de France, 2011/09/29—2012/01/09http://www.louvre.fr/llv/exposition/detail_exposition.jsp?CONTENT%3C%3Ecnt_id=10134198674214567&CURRENT_LLV_EXPO%3C%3Ecnt_id=10134198674214567Lieu : Musée du Louvre, galerie Richelieu, Place des Pyramides, 75001 ParisHoraires : Tous les jours de 9h00 à 18h00, sauf le mardi et les 1er janvier, le 1er mai et 25 décembreExposition Empereurs de Chine et rois de France, la Cité interdite au

LouvreLa fermeture des salles commence à 17h30Nocturnes jusqu’à 22h00 les mercredi et vendredi (fermeture des salles à partir de 21h30)A cette occasion le Louvre exposera 130 chefs d’oeuvre provenant du Palais de la Cité interdite de Pékin ayant appartenu à des empereurs et souverains chinois et qui pour la plupart n’ont jamais quitté la Chine. L’exposition

mettra en parallèle les dynasties chinoises et françaises ainsi que la Cité interdite et le Louvre qui tous 2 abritèrent fut un temps, rois et empereurs, avant d’avoir été transformés en musées et lieux d’exposition.Parmi ces 130 pièces qui prendront place dans la galerie Richelieu du musée du Louvre, on peut mentioner d’importants portraits des souverains Ming et Qing, qui seront installés dans un parcours en miroir avec les principaux rois collectionneurs ou bâtisseurs, ainsi que des objets personnels des empereurs tels que des armes, vêtements, parures, bronzes, jades, laques, céramiques, émaux, pierres à encre, ou encore sceaux.

5. Asian Art Museum, National Museums in Berlin 1) Bamboo and its Friends.Chinese Painting from the Ming and Qing DynastiesTue 11 October 2011 - Sun 18 March 2012The three 'friends of winter': bamboo, plum blossom and pine remain a very popular motif, even today. Defying the inclemencies of weather and the seasons, they have come to symbolize endurance and hardiness. At the same time, though, they particularly lend themselves to demonstrating the painter's skill in handling the brush and ink. The artist does not attempt to render the bamboo and its friends faithfully, but rather strives to capture their essence, depicting each plant using just a few masterful strokes, usually in black ink.On show here are some 47 works that were mostly produced during the Ming and Qing dynasties and which depict bamboo and its wintry friends in all their forms. Bamboo, plum blossom and pine are depicted either heavy with drops of rain, poetically tender or vigorously robust. The various artists also combine them with one another or have them growing beside bubbling brooks or in the gardens of scholars. Of particular interest here are the three hanging scrolls by the Qing-era master, Zheng Xie (Banqiao, 1693-1765); one of the Eight Eccentrics of Yangzhou, he was famed for his excellent depictions of bamboo.2) Chrysanthemums and Bamboo. Symbolism, Legends, PolymorphismTue 25 October 2011 - Sun 25 March 2012Chrysanthemums and bamboo are two of the most popular motifs in Chinese painting, even today, and are imbued with rich symbolism. They are attributed with certain 'masculine' virtues, which the artist by inference ascribes to himself to reveal facets of his personality. Both plants especially lend themselves to demonstrating the painter's skill in handling the brush and ink.

Today's exhibition presents 16 works, in which chrysanthemums or bamboo are combined with depictions of various animals, jagged ornamental rocks and autumnal motifs. In some pictures, chrysanthemums and bamboo also appear on their own, for instance 'dancing' in the rain. The images are imbued with their own symbolism, depending on how they are combined with other motifs, and often also refer to stories from long ago. The manner in which they are executed is just as diverse as the motifs themselves. In style, they range from traditional monochrome paintings up to depictions in vibrant colours that border on the abstract. This range of styles lends the works their tender lyricism or gives them their lively, expressive force. The exhibition presents the diverse range of forms evident in the motifs of chrysanthemums and bamboo, in the process highlighting the fresh creative impulses with which artists of the 20th century have infused traditional Chinese painting.3) China und Preußen.Porzellan und TeeFri 1 June - Mon 31 December 2012Unter dem Stichwort "Chinesisches Porzellan" werden Teile des um 1755 als Geschenk für Friedrich II. in Jingdezhen gefertigten und mit dem Großen Preußischen Staatswappen verzierten Services gezeigt, das die Stadt Emden mit einem der Schiffe der preußischen Handelskompanie erreichte. Als Kontrapunkt steht dem das "Teehaus" des zeitgenössischen Künstlers Ai Weiwei gegenüber.Mit dieser Präsentation im 'Thronsaal' des Museums wird auf zwei zentrale Errungenschaften des Fernen Ostens verwiesen, die unter Friedrich II. eine Brücke nach Ostasien schlugen: Porzellan und Tee. Die Ausstellung wirft ein Schlaglicht auf ein frühes Kapitel global ausgerichteter preußischer Handelsgeschichte und damit verbundenen kunsthistorischen Implikationen.Die Ausstellung findet im Rahmen einer Reihe von Veranstaltungen der Stiftung Preußischer Kulturbesitz aus Anlass des 300. Geburtstags Friedrichs des Großen am 24. Januar 2012 unter dem Motto "Kunst - König - Aufklärung" statt.4) Auf Grünwedels Spuren.Restaurierungsforschung an zentralasiatischen Wandmalereien im Rahmen des KUR-Programms Sat 10 December 2011 - Sun 29 April 2012Die Staatlichen Museen zu Berlin besitzen die weltweit bedeutendste Sammlung zentralasiatischer Kunstschätze. Diese sind insbesondere dem Forschergeist des Indologen Albert Grünwedel (1876 bis 1935) zu verdanken. Grünwedel war Expeditionsleiter der ersten Turfan-Expedition 1902 und Direktor der Indischen Abteilung am Museum für Völkerkunde in Berlin.

Die von Albert Grünwedel publizierten kunstwissenschaftlichen und archäologischen Ergebnisse seiner Forschungen zu den entdeckten und teilweise nach Berlin verbrachten Wandmalereien, Lehmskulpturen, Stein- und Holzobjekten, Textilien, Metallfunden und Handschriften machten in Deutschland und darüber hinaus in ganz Europa, die buddhistische Hochkultur Zentralasiens bekannt. Die Ausstellung erklärt einerseits die 100-jährige Museums- und Expeditionsgeschichte der wertvollen buddhistischen Wandgemälde und andererseits die neu erarbeiteten wegweisenden Erhaltungsstrategien für diese Sammlung.

演講：1. Christian Art on the Silk Road

VisAsia Hingyiu Mok Mandarin Language Lecture 2012 Art Gallery of New South Wales Sydney, Australia 28 January 2012 From the cross on the lotus of Tang Nestorianism to the palace architecture of the Christian university campus in modern China, religious art from the West has undergone tremendous transformation since its introduction to China via the Silk Road. Join professor Gu Weimin from the Shanghai Normal University and adjunct professor Milton Wan from the Chinese University of Hong Kong in a visual art journey, spanning over a thousand years, from Rome to Beijing, and discover the inter-faith merging of Christian, Buddhist and Muslim arts along the way. NOTE: This lecture is delivered in Mandarin only.

2. Tang Center Lecture Series Claudia Brown (University of Arizona) Princeton University Princeton, NJ 16-19 April 2012 16 April Lecture 1. "Proceeding Down the Grand Canal: The Qing Emperors' Maps and Topographical Paintings" Traditional Chinese panoramic maps remained a standard administrative tool to the end of Imperial rule. However, the Kangxi Emperor (r. 1662-1722) recognized the strategic utility of Western cartography and employed Europeans to survey and map the empire. His successors, Yongzheng (r.

1723-1735) and Qianlong (r. 1736-1795), carried on the practice. During the same period, court artists studied and re-created masterworks in the topographical genre from the Song dynasty (960-1279). The legacy of these traditional paintings could be both useful and poetic, and it informed the well known series of Southern Inspection Tour scrolls commissioned first by Kangxi and later by Qianlong. In panoramas that foreshadow Google Street View, Qing painters recorded a wealth of information while maintaining a link to the classical aesthetic. 17 April Lecture 2. "The Emperor Commissions an Inventory: The State of the Field of Qing Painting Studies" In 1744 court officials began the evaluation and cataloguing of the vast palace collection of scrolls and albums, old and new. Their work set the starting point for the study of painting of the Qing dynasty (1644-1911). Meanwhile, an eager audience in Europe and North America, already keen on Chinoiserie, developed interest in "export pictures" which combined elements of the traditions of China and the West. Although modern art historians were slow to take up the study of Qing painting, the formation of the Palace Museum and the first publications of its collections in the 1930s spurred a general interest that has resurfaced in the last two decades. The challenge remains to sort out the relationship of court painting to private commissions and of scholar-amateur work to that associated with a modern, commercial art market. 19 AprilLecture 3. "Scholar Zhang Peeks at Yingying: How Printed Books Inspired Painters of the Qing Dynasty" Publishing flourished in the late Ming period and then again shortly after the Qing conquest in 1644, despite the destruction of important publishing houses in several cities during the turmoil of the fall of Ming. The sophisticated simplicity of traditional Chinese printing techniques – with no presses needed – made small-scale publishing workable and trade in books expanded. Books were exported to Japan on ships with other cargoes. Old books were collected with enthusiasm. The Qianlong emperor's great literary compilation, the Siku Quanshu (Complete Library of the Four Treasuries), now a scholarly resource available and searchable online, was made possible by the cooperation of private book collectors. Books were also available on a popular level and were sold from floating vessels on the Southern waterways. The popularity of printed books continued to the end

of the Qing dynasty, despite the destruction of many printing houses during the Taiping Rebellion. A rapid transition to lithography began in the late 1870s. Throughout the period, painting manuals and illustrated literary works circulated widely, inspiring new trends in painting.

3. Chinese Imperial Porcelains—Retrospection and Innovation Regina Krahl Art Institute of Chicago 12 May 2012 Regina Krahl, independent scholar, reviews 600 years of stunning wares from imperial workshops in China's "porcelain city," Jingdezhen, where innovation was inspired by the past.

研討會：1. New Perspectives on Chinese Archaeology

University of California, Los Angeles 6-7 January 2012

Organized under the joint auspices of the Cotsen Institute of Archaeology and the Center for Chinese Studies, UCLA FRIDAY, 6 JANUARY

Keynote Lecture: Liu Li (Stanford University), "Archaeology under a Microscope" SATURDAY, 7 JANUARY Yunxiang Yan, David Schaberg, Min Li, Lothar von Falkenhausen (UCLA), Welcome

Panel I Chair: Yunxiang Yan - P. Jeffrey Brantingham (UCLA), "What is the Oldest Site on the Tibetian Plateau and Why Should We Care?" - Li Xinwei (Institute of Archaeology, CASS), "Old Model, New Evidence: Rethinking the Chinese Interaction Sphere" - Kuei-chen Lin (UCLA), "Ceramic Analysis and its Relation to Craft Production in the Ancient Chengdu Plain" Panel II Chair: Li Liu - Min Li (UCLA), "Storytellers in the Bronze Age China: Ancestral Landscape, Heirlooms, and Techniques" - Jianfeng Lang (Shandong University), "The Religious Belief of the Lower

Reaches of Changjiang River in the Bronze Age, Based on the Analysis or Bronze Sticks"

- Yanling Yuan (Chongqing Normal University), "Manufacture Organization of Chu Style Bronzes" - Anke Hein (UCLA), "Movements along the Western Part of the Crescent-Shape Exchange-Belt -- The Prehistoric Liangshan Region as a Multi-Cultural 'Intersection'" Keynote Lecture 2: Norman Yoffee (Emeritus, University of Michigan), "Early Cities and the Evolution of History"

Attendees of this symposium may also wish to attend the faculty seminar given by Norman Yoffee on January 6, 4:00-6:00 pm, at the Cotsen Institute of Archaeology (Fowler A222), on "The Evolution of Fragility."Panel III Chair: David Schaberg - Guolong Lai (University of Florida), "Early Chinese Screeens in Archaeological Contexts" - Yantao Shang (South China Normal University), "The Military in Western Zhou Bronze Inscriptions" - Hanmo Zhang (UCLA), "The Writing in the Wall: Talismanic Uses of

Manuscripts" - Lothar von Falkenhausen (UCLA), "Sidelights on Chinese Antiquarianism"

2.藝術史論壇：藝術、科技、與技藝時間：101年 1 月 7日星期六下午 13: 30—18:00 (晚間歡迎自由參與聚餐)地點：新竹市國立清華大學教育館發表學者與主題：

發表學者 主題林煥盛 雲林科技大學文化資產維護系助理

教授 書畫裝裱技術與藝術史研究陳東和 國立故宮博物院登錄保存處助理研

究員現代科技於藝術史研究之應用

楊美莉 前國立故宮博物院器物處研究員，現任教於淡江大學

用光學同調斷層掃描(OCT)技術檢測宋瓷和古玉: 一個「科學在藝術」的個例研究

范毅軍 中研院史語所研究員、人社中心地理資訊科學研究專題中心執行長 地理資訊科學與空間意像的認知和表達

■ 有意報名者請上網頁填寫報名: http://0rz.tw/xTtkJ

3. Southeast Conference, Association for Asian Studies Greenville, SC 13-15 January 2012

Panel 10: The Social Function of Imagery in Architecture, Painting, Literature, and Illustration of Traditional China Chair: Li-ling Hsiao (University of North Carolina, Chapel Hill) - Wei-Cheng Lin, (University of North Carolina, Chapel Hill), "Screening the Chinese Interior: Concealing, Layering, and Illusion" - Andrew Shih-Ming Pai (National Taiwan Normal University), "The Hidden Pictorial Intention: Imagery and the "Sociality" of Hermiticism in Song and Yuan Painting" - Meng-Yun Chen (National Tsinghua University, Taiwan), "A Leisure Grass Transformed into A Jade Camellia: The Meaning of the Names for Tang Xianzu's Poetry Anthologies" - Li-ling Hsiao, "Kinesis Embedded in Static: Butterflies and Leaves as Pictorial Metaphors of Love and Communication"

Panel 20: Masters in Chinese Art History Chair: Jim Yoxall (Mary Baldwin College) - Sara Yeung (University of Virginia), "Art and Social Networks: Hu Zhengyan (1584-1674) and the Contributors to the Ten Bamboo Studio Collection of Painting and Calligraphy" - Mina Kim (Ohio State University), "Bada Shanren: Lotus and Birds of 1690 as his Transitional Work" - Seojeong Shin (Northern Virginia Community College), "The Influence of Chinese Printed Albums on the Late Joeson Dynasty Landscape Paintings" Panel 29: Chinese Art History Chair: Wei-cheng Lin - Chun-Yi (Joyce) Tsai (Columbia University), "Drunkards and Country

Bumpkins on Parade: The Changing Representations of the Demonic in 13th Century Zhong Kui Procession Paintings" - Youmi Kim Efurd (University of Kansas), "Case Study of Ten Kings of Hell

Paintings in Baiyun guan: Iconography, Date, and Function" - Yu Jiang (Southern University at New Orleans), "Informative and

Entertaining: Presenting Chinese Ritual Bronzes in Museums"Panel 31: Adaptation in Japanese Visual Culture Chair: Hongbing Zhang (Fayetteville State University)

- Alanna Mori (Duke University), "Imagining Childhood: Seirei no Moribito, From Novel to Anime" - Dongming Zhang (Furman University), "Michio Takeyama's Harp of Burma and Japan's After-War Rhetoric" - David Ross (University of North Carolina, Chapel Hill_, "Defoe and his Discontents: Teshigahara's Women in the Dunes, Koreeda's Nobody Knows, and Lee Hey-jun's Castaway on the Moon" - Elizabeth A. Marks (Rice University), "Little Plastic Castles: Precarity and Hesitancy in the Japanese TV Industry"

4. Room for Another View: China’s Art in Disciplinary Perspective University of Michigan

Friday, Feb. 10th-11 th

Conference ScheduleFriday, Feb. 10th8:00-8:30am: Continental Breakfast8:30-9:00: Welcome: Derek Collins, associate dean for humanities; Opening Remarks: Matt Biro, chair of Department of History of Art; Opening Address: Martin Powers, Sally Michelson Davidson Professor of Chinese Arts and Cultures9:00-10:45 am: Production [Panel One]Chair: David Doris (U-M)Respondents: David Doris, John Onians (University of East Anglia), Erik Meuggler (U-M)Speakers:Patricia Ebrey (University of Washington). “Art Academies.”Cary Liu (Princeton University). “Architectural Space”J. P. Park (University of Colorado, Boulder). “Printing.”Martin Powers (U-M). “Art Production and Social Agency”10:45-11:00: Coffee break11:00-12:45: Reality [Panel Two]Chair: Alex Potts (UM)Respondents: Alex Potts, David Summers (University of Virginia), Kevin Carr (UM)Speakers:Dora Ching (Princeton University). “Portraiture.”Shane McCausland (SOAS). “Figure Painting.”Katherine Tsiang (University of Chicago). “Religious Art.”Peter Sturman (University of California, Santa Barbara). “Landscape.”12:45-2:30: Lunch

2:30-4:15: Persons [Panel Three]Chair: David Porter (UM)Respondents: David Porter, James Elkins (Art Institute of Chicago), Diane Owen Hughs (UM)Speakers:Jessica Rawson (Oxford University). “Ornament.”Wu Hung (University of Chicago). “Ritual Objects.”Xin Wu (College of William and Mary). “Gardens.”Tani Barlow (Rice University). “Fashion.”4:15-5:00: General Discussion5:30-7:30: Dinner (by invitation)Saturday, February 11th8:30-9am: Continental Breakfast9:00am-Noon: Reflexivity [Panel Four]Chair: Celeste Brusati (UM)Respondents: Celeste Brusati, Nicholas Mirzoeff (NYU), Christian Depee (UM)Speakers:Eugene Wang (Harvard University). “Space.”Alfreda Murck (National Palace Museum, Beijing). “Word and Image”Chen Jianhua (HKUST). “Visuality.”Jerome Silbergeld (Princeton University). “Literati Painting”10:15-10:30 Coffee break10:30-12:00: Respondents and General Discussion12:00-2:00: Lunch2:00-2:30 Showing of Selected Paintings from the Collection of the University of Michigan Museum of Art2:30-5:00: Language [Panel Five]Chair: Xiaobing Tang (UM)Respondents: Xiaobing Tang (UM), W.J.T. Mitchell (University of Chicago), Basil Dufallo (UM)Speakers:Ronald Egan (University of California, Santa Barbara). “The Language of Quality”Susan Bush (Fairbank Center for Chinese Studies, Harvard). “Imitation and Expression.”Ginger Hsu (Yang Ming University, Taiwan). “Imitation and Originality”Richard Vinograd (Stanford University). “Classification.”Cao Yiqiang (China Academy of Arts). “English Terms and Chinese Art.”5:00-5:30: Closing Remarks: Haun Saussy (University of Chicago)

For all conference inquiries, please contact Stephanie Harrell (sharrell@umich.edu)5:30-6:00: Reception6:30-8:30: Dinner (by invitation)EventsEvents ArchiveMultimedia

5. Association for Asian Studies Annual Conference Toronto, ON Canada 15-18 March 2012

7. Writings on Modern Design Histories for the Global World: Issues and Perspectives from Modern Design Histories in East Asia (Yuko Kikuchi, University of the Arts London) 13. individual Papers: Cultural Images & National Symbols 18. Visual/Textual Appropriation and Trans-Creation in Early Modern

Kusazoshi (Laura Moretti, Newcastle University) 27. So How Bad Was It? Comparative Decadence of the Jiajing and Wanli

Eras (Katharine Burnett, University of California, Davis) 45. Political Power and the Relationship between Gods and Buddhas in

Fifteenth- and Sixteenth-Century Japan (Christopher D. Mayo, Princeton University) 55. Seeing through Chinese Costume and Textiles (Jennifer G. Purtle,

University of Toronto) 63. Translation, Transmedia and Transcultural Migration of Anime and

Manga from Japan: Intersections between Culture and Cultural Commodities across Borders and Media (June M. Madeley, University of New Brunswick) 74. Culture and Time: The Art of Historical Imagination in the 17th-

Century Kyoto Renaissance (Morgan Pitelka, University of North Carolina, Chapel Hill) 79. Seeing is (Dis)believing: Visuality, Truth Claims, and Representation in

Modern China (Shengqing Wu, Wesleyan University) 82. Place, Memory, and Visuality in Chinese Painting (Juliane Noth, Free

University, Berlin) 87. The Visual Politics of Asia: Lens-Based Images in the Modern World

(Thomas F. O'Leary, Saddleback College) 101. Old Capital, New City: Art and Design in Twentieth-Century Kyoto

(Yasuko Tsuchikane, Parsons School of Design), sponsored by the Japan Art History Forum 105. Dong nan xi bei: Chinese Cultural Production and Its Transnational

Contexts (Nicolai Volland, National University of Singapore) 115. Handmade Futures: Design, Labor and Identity in Asian Craftwork

(Clare Wilkinson-Weber, Washington State University) 123. Enacted Space: New Meanings from Built Environments in

Transforming Cities (Sandria B. Freitag, North Carolina State University) 136. The Many Lives of a New Canon: Performance Genres, Print Culture,

and Social Reproduction in Qing China (Patricia A. Sieber, Ohio State University) 138. Edges of the Mongol-Yuan World: Situating the Yuan Dynasty in New

Spatial and Temporal Contexts (Anne Gerritsen, University of Warwick) 149. (Re)framing "Asia": Literary and Visual Images of "Asia" Produced in

Modern East Asia and the West (Jooyeon Rhee, York University, Canada) 163. Memory, Narrative, Community: Reinventing the Past in Tibetan Art

and Text (Carl S. Yamamoto, Towson University) 165. To and from Beijing: Mobile Painting in 18th-Century China (Kristina

R. Kleutghen, Washington University, St. Louis) 166. Contested Space: New Research on the Tombs of China's Ruling Elite

(Aurelia A. Campbell, Lake Forest College) 171. Representations of Avalokiteshvara across Asia and Genres (Punam

Madhok, East Carolina University) 182. No Ideas but in Things: Material Culture as Common Ground in

Contemporary Japanese Cultural Studies (Eve Zimmerman, Wellesley College) 201. The Arts of Death in Asia (Melia Belli, University of Texas, Arlington) 218. Representing Intercultural Transposition in Buddhist Mongolia

(Matthew W. King, University of Toronto) 222. Rhetorics of Eroticism in Chinese Art and Literature, Song to Ming

(Tamara H. Bentley, Colorado College) 250. Art and Agency of the Qianlong Court (Wen-shing Chou, City

University of New York, Hunter College) 254. The Han Empire at the Periphery and Beyond: Perspectives from

Archaeology and History (Nam C. Kim, University of Wisconsin, Madison) 281. Refiguring the Buddha in Tibet (Andrew H. Quintman, Yale University) 288. Creative Industries and Cultural Action in Japan (Marc Steinberg,

Concordia University)

295. Flesh for Fantasy: Performing the Chinese Past in the Age of Digital Photography (Yuhang Li, Yale University) 298. Seeing Double? Paired Imagery in Buddhist Art in China (Michelle C.

Wang, Georgetown University) 328. Cultural Consumption and commodification in Asian Contexts (Amy E.

Singer, Knox College) 344. "Post-Bubble" Contemporary Art in Japan: Toward an Art History of

the 1990s and After (Adrian Favell, Sciences Po) 370. Readers and Visuality: Literary and Artistic Modes in 19th- and 20th-

Century Japan (Ann Sherif, Oberlin College) 371. The Politics of Japanese national Symbols (Fabian Bauwens, Johns

Hopkins University) 375. Transnational Flow & Hybridity: Contemporary Art, Design, and

Home in Hong Kong (Wendy S. Wong, York University)

講座：1. 專題瓷器講座：玉貌清明－－故宮珍藏兩宋瓷器精品展 日期： 07,08/01/2012 時間： 15:00 - 18:00 地點： 澳門藝博館一樓演講廳 講座一　宋、遼、金、西夏陶瓷鑑賞時間：07/01/2012（星期六）15:00—18:00講者：呂成龍，現任故宮博物院研究員、古器物部副主任、古陶瓷研究中心秘書長，中國古陶瓷學會常務理事，文化部青年聯合會常委，碩士研究生導師等職。主持多個大型陶瓷展覽，實地調查多個中國古代瓷窯遺址。二零零六年榮獲“文化部優秀專家”稱號。內容：宋、遼、金、西夏時期是中國陶瓷製造業蓬勃發展的一個高峰，名窯遍佈全國，產品各具特色。講者將介紹宋代五大名窯的審美特點，鑑賞遼、金、西夏陶瓷特色，以及定窯系、耀州窯系、磁州窯系、鈞窯系、越窯系、龍泉窯系、建窯系、景德鎮窯系等八大窯系的藝術風貌。講座二　古陶瓷窯址研究時間：08/01/2012（星期日）15:00—18:00講者：馮小琦，現任故宮博物院古器物部研究員，中國古陶瓷學會副秘書長、常務理事，國家鑑定委員會委員。從事古陶瓷研究。先後在故宮博物院保管部陶瓷組、研究室、古器物部從事古陶瓷的保管、研究、陳列、窯址調查與標本整理工作。內容：講座介紹故宮博物院近八十年來對古窯址的現狀、分佈、燒瓷歷史、品種、特點以及瓷窯間關係等調查成果，這些調查補充了文獻記載的不足，確定了故宮博物院部分藏品

的窯屬，豐富了窯址標本資料。另外，講者亦會分析宋代瓷器的發展特點、瓷窯分佈以及宋代瓷器的品種、造型、裝飾、燒造工藝特徵。

2. Chinese Painting and Its AudiencesCraig Clunas (University of Oxford) Sixty-First A. W. Mellon Lectures in the Fine Arts Center for Advanced Study in the Visual Arts National Gallery of Art Washington, DC In March-April 2012 Craig Clunas, Professor of the History of Art and a

member of the China Centre, will deliver the Sixty-First A.W. Mellon Lectures in the Fine Arts at the National Gallery of Art, Center for Advanced Study in the Visual Arts in Washington DC. The lecture series will be entitled "Chinese Painting and Its Audiences," and will provide a new account of the ways in which the category of "Chinese painting" has been constructed by different types of viewers, both inside and outside China, from the middle of the sixteenth century to the late twentieth century. The dates and titles of the individual lectures, which are open to the public and generally attract a large audience, are: 11 March: Beginning and Ending in Chinese Painting 18 March: The Gentleman 25 March: The Emperor 1 April: The Merchant 15 April: The Nation 22 April: The People The A. W. Mellon Lectures in the Fine Arts were established in 1949 "to

bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the fine arts"; previous Mellon lecturers with Oxford connections include Sir Kenneth Clark, Sir Isaiah Berlin, Lord David Cecil and Sir John Boardman. This will be only the second time the Mellon Lectures will deal with a Chinese topic; in 1998 Lothar Ledderose lectured on "Ten Thousand Things: Module and Mass Production in Chinese Art." The lectures are published in the Bollingen Series of Princeton University Press, and podcasts of recent series are available at http://www.nga.gov/podcasts/mellon/

網頁1. Index to Ming Dynasty Chinese Paintings

http://ted.lib.harvard.edu/ted/deliver/home?_collection=ming The Ming dynasty Chinese painters and paintings index is a searchable dataset that continues James Cahill's print publication "An index of early Chinese painters and paintings: T'ang, Sung, and Yüan." Compiled by Prof. Cahill over a period of many years, the database contains over 10,000 records including three types of data: 1) artist biographies, 2) artwork descriptions and 3) a bibliography covering the Ming Dynasty period, mid-fourteenth through mid-seventeenth centuries in China. Artist and Place names are currently transliterated in Wade-Giles, and Painting Titles are in English or Wade-Giles. Many titles in the Bibliography field contain Asian characters and can be searched using Asian script. To search or browse the collection follow one of the links at the left. Please see "Help" for searching with Asian script.

2. 多方觀照: 近代早期歐洲與東亞在視覺、物質文化上的交會互動 (‘Perspectives on Artistic and Cultural Exchanges between Europe and East Asia, 1600-1800’)中央研究院(Academica Sinica)近史所http://exchange.mh.sinica.edu.tw 網站緣起於我們的整合型計畫「多方觀照：近代早期歐洲與東亞在視覺、物質文化上的交會互動」，希望透過本網站連結彼此的研究興趣，更與世界各地有相同知識興趣的追求者，一同探究歐亞交流領域的廣闊天地。交流史或全球史的研究近年來蔚為大觀，在此知識的森林中，我們的計畫僅是其中一株剛成長的小樹，但是我們希望藉由網站所提供的內容與訊息，對交流史 或全球史的研究有所建樹我們從使用者的角度來設計網站，構想的單元雖然不多，但希望提供大家最想知道的資訊。我們也設計了討論區，大家註冊後，就可以在 區內發言討論。希望大家踴躍參與討論，討論所能激起的智慧火光，那怕是一丁點的火星，或許在不經意間，可以照耀大家踽踽獨行的研究長路。“The website is focused on the artistic and cultural exchanges between Europe and East Asia in the early modern period. Its contents include new information, bibliographic data, forum, and an introduction to related research projects sponsored by the National Science Council, Taiwan .”

3.明清與民國檔案跨資料庫檢所平台 http://archive.ihp.sinica.edu.tw/mctkm2c/archive/archivekm