藝術/文化/史ArtsInfo

04/19/2013 1. 感謝盧慧紋、王靜靈、Uta Rahman-Steinert、Kevin McLoughlin所提供的資訊。部分訊息轉貼自Nixi Cura維護之Arts of China Consortium網站。

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展覽：■ 台灣1. 國立故宮博物院■ 亞洲1. 香港藝術館2. 香港中文大學文物館3. 澳門藝術博物館4. 澳門博物館5. 中國故宮博物院6. 中國國家博物館7. 廣東省博物館8. 京都國立博物館9. 大和文華館10.九州國立博物館11.大阪市立美術館12.韓國國立博物館13.韓國國立光州博物館■ 歐美1. Freer Gallery of Art2. Asian Art Museum of San Francisco

3. Musée Guimet4. Nelson-Atkins Museum of Art5. Cantor arts center at Stanford university6. Princessehof Museum of Ceramics in Leuwarden (Netherlands)7. Asian Art Museum, National Museums in Berlin8. Musée Cernuschi

台灣1. 故宮博物院展覽：

http://www.npm.gov.tw/exhbition/object.htm1）通嚏輕揚—鼻煙壺文化特展 展期：2012/07/25 ~ 2013/06/20 陳列室：303

2）金成旭映—清雍正琺瑯彩瓷特展 展期：2012/12/01 ~ 2013/09/30 陳列室：203

3）典藏新紀元－近現代書畫名品展 展期：2013/02/08 ~ 2013/04/30 陳列室：105、107

4）萬民同樂—元王振鵬龍池競渡圖展期：2013/04/01~2013/06/25陳列室：208「農曆五月五，家家慶端午」的節令習俗在中國已經流傳了將近兩千年，而龍舟競

渡更是歡慶端午佳節的重頭戲，不過在北宋時期，龍舟競渡的皇家活動是在三月舉行。「龍舟」一詞，早在戰國時期的《穆天子傳》即已出現，但「競渡」一詞，則要晚至晉代周處《風土記》和其後的《荊楚歲時記》才可見及。直到唐代駱賓王、劉禹錫等詩人的作品中，始有「龍舟」與「競渡」的結合，成為我們今日印象中以競速為目的之划龍船比賽。

據載，淳化三年（992）三月，宋太宗駕幸金明池觀水嬉，命為競渡之戲，於是每歲三月的龍舟競渡，遂成為故實。到了北宋中期，三月競渡的慶典又增加了許多水戲的活動，如水鞦韆、水傀儡等，場面更為熱鬧。南宋紹興十七年（1147）孟元老追憶昔日東都汴京（今河南開封）繁盛而寫的《東京夢華錄》，對金明池三月競渡的情況記載甚詳。

本院典藏有四件與此題材相關的畫卷，皆列於元代界畫大師王振鵬（約活動於1280－1329年）名下。本次選展的〈龍池競渡圖〉，雖可能為元以後的仿本，但圖中所畫的競渡水戲場景，依舊能和《東京夢華錄》的紀載相互參照。觀眾賞覽之際，通過畫卷中細膩精絕的演繹方式，當可一窺北宋都城三月龍舟競渡的盛況。

5）盆中清翫展期：2013/04/01~2013/06/25

陳列室：212盆景藝術是以植物、山石為素材，經過造型設計和園藝栽培，在有限空間的盆盎中，

呈現微縮的自然之美。盆景依取材和表現的不同，可分花木和山石盆景兩類，前者以花葉、果實觀賞植物為主，後者則以精選石料佳器陪襯植栽。宋元時期花木栽培技術與山石造園的基礎，促成了明清時期盆玩藝術多樣化的發展。明陸容《菽園雜記》云：「京師人家能蓄書畫及諸玩器、盆景、花木之類，輒謂之愛清。」明代王穀祥〈盤石菖蒲〉、陳淳〈崑璧圖〉、陳栝〈畫萬年青〉文石墨卉寫生，并作詩文詠頌，除了表現文人於庭園或書齋「蒔花養石」的雅興，更賦予盆景審美內涵與觀賞價值。

清初為中國盆景發展的鼎盛期，花木盆栽、盆供成為宮廷不可或缺之擺設。關於苑囿園藝，清初高士奇在《金鰲退食筆記》記載：「本朝改為南花園，雜植花樹，凡江寧、蘇松、杭州織造所進盆景，皆付澆灌培植。又于煖室烘出芍藥、牡丹諸花……。」展品中，蔣廷錫〈月來香〉以竹架攀緣之藤本植物，余省〈仿御筆盆橘〉為乾隆巡幸盤山移來之果樹盆景，鄒一桂〈畫古榦梅花〉乃乾隆南巡蘇州攜種於溫室之古梅，郎世寧〈畫海西知時草〉青花盆植西洋傳教士進貢之含羞草，丁觀鵬〈倣仇英漢宮春曉圖〉展現出御苑佳木異卉盆景陳設。「盆景清供」亦可用來象徵美好祝福，譬如汪承霈〈畫萬年花甲〉、沈煥〈畫仙葩清

供〉都以各色花草、靈芝與盆缽組合，烘托出喜慶節令氣氛，具有吉祥之寓意。此次展出明清作品計十八件，以呈現中國盆景文化的豐富內涵。

6）順風相送：院藏清代海洋史料特展展期：2013/05/03始陳列室：展覽區一 104

清代航行於東亞的船隻，多在船尾書有「順風相送」四字，以祈求航行的順利。東亞的季風，通常是夏至後的七、八、九月的西南季風和十月、十一月的東北季風。在季風吹拂下，船隻仰賴風帆，到各地進行貿易。唐宋以後，東亞的貿易活動日漸暢旺活絡；季風既是船舶的動力，也是經濟的動力，更是文明的動力。

海路開通之後，海防逐漸成為統治者不可忽略的問題。從明代開始，為了鞏固中國的國際政治聲望，結合政治與經濟雙重目的的朝貢制度，大大的促進了沿海貿易的進步同時，在開放部分門戶之餘，為了防禦倭寇和海盜的侵擾，中國沿海的防禦體系逐漸成形；國人積極認識海洋，探索海洋，並經營海洋。海外貿易的高度發展，促進了造船和導航等航海科技的進步。隨著朝貢體系的建立，和貿易往來的頻繁，國人對於域外的認識日益增加，不但使國人開眼看世界，也加速了沿海社會的變化。

國立故宮博物院典藏了大量的海洋史料，其內容包括了各種清代沿海海圖、帝王的詔令、各地督撫的奏報和帝王的硃批、記載海防相關制度的官書與各種傳聞或親歷域外的檔案、沿海社會生活，以及百年前部分西方媒體對於中國沿海的報導。這些展件充分反映出清代海洋與政治、社會的密切關聯，以及清代海洋事務的多元性。

本展覽共分為四個單元：第一單元為「萬里海防」，透過圖籍文獻，講述帝王的海洋觀，並以水師、礮臺和水師將領等主題，勾勒清王朝的海防視野和規模。第二單元為「七海揚帆」，以介紹各種海船和航海科技為主。第三單元為「殊域周咨」，講述國人對

於域外奇風異俗的認識，以及清代與各藩屬之間的朝貢貿易關係。第四單元為「移風變俗」，講述沿海城市的發展和沿海各地宗教、商貿、漁鹽之利的種種社會生活變遷。7）溯源與拓展－嶺南畫派特展展期：2013/06/01~2013/08/25陳列室：展覽區一 105、107

廣東地處五嶺之南，習稱嶺南。晚清時期，由於廣州開放為對外通商口岸，外在環境的變遷，啟動了嶺南地區藝術革命的契機。伴隨多位才華洋溢的畫家嶄露頭角，嶺南諸家的畫名迅速與上海、京津地區的畫家三足鼎立，躍身為代表中國南方藝壇的核心團體。

近代嶺南繪畫的革新，可推居巢（1811-1865）、居廉（1828-1904）昆仲為先驅。二居係廣東番禺隔山鄉人，畫風賡續自清初惲南田（1633-1690）的沒骨花卉，於取材、表現諸端，迭有建樹，其擅長之「撞水」、「撞粉」畫法，能充分掌握物象五光十色的變化。傳承者以高劍父（1879-1951）、高奇峰（1889-1933）、陳樹人（1884-1948）聲名最著，致有「嶺南三傑」的美譽。彼等均曾負笈東瀛，採擷東洋畫中講求寫生、著色鮮潤的一脈，於民初楬櫫「折衷中外、融會古今」的革新口號，與側重臨摹的傳統派互成抗衡之勢。嶺南派新國畫對於當代藝壇的影響，亦未侷限於廣州，舉凡香港、澳門、台灣等地，均有眾多後繼者，迄於今日而不衰。

本次「溯源與拓展─嶺南畫派特展」，除陳列嶺南派創始者「二高一陳」的代表作，復遴選嶺南派前身「隔山二居」，以及嶺南派二代傳人，趙少昂（1905-1998）、黎雄才（1910-2001）、關山月（1912-2000）、楊善深（1913-2004）等四家作品，援以演繹嶺南畫派的源流與生生不息的發展。展覽共分「人物」、「花鳥魚蟲」、「畜獸猛禽」、「山水」四個單元，作品集結自廣州藝術博物院、中央研究院嶺南美術館、挹翠山堂與本院典藏，共計九十件。觀眾賞覽之際，應能概括嶺南派繪畫表現的多元面向。

亞洲1. 香港藝術館

1）20 / 20 ─ 虛白齋藏中國書畫館二十周年特展展期：2012年 9月 26日-2013年 9月 30陳列室：虛白齋藏中國書畫館 (二樓)

1949年前後，香港因為特殊的歷史及政治因素，成為南北文物的集散地，這是個短暫的黃金時代，造就了香港一些獨具特色的私人典藏，其中包括劉作籌先生（1911 – 1993）的「虛白齋」收藏。

劉先生是星洲華僑，1949年來港任職四海通銀行，適逢政局大變，書畫文物匯流香江，遂節衣縮食，竭力蒐集收藏。經逾 3 0年的努力，他建立起舉世知名的「虛白齋藏品」，早在上世紀七、八十年代，國際學者、收藏家、博物館專家慕名到港拜觀者已絡繹不絕，成為香港一道燦然的文化風景。1989年，劉先生經多年考慮，並走訪了世界各地的博物館取經，最後決定以取諸香港、用諸香港的心意，以化私為公的精神，將珍

藏慷慨捐贈香港藝術館，當時更成為哄動國際的藝壇大事。1992年 9月 26日「虛白齋藏中國書畫館」正式揭幕，成為虛白齋藏品的永久陳列專廳，真正落實劉先生宏願。

20年來，香港藝術館堅守對劉先生的承諾，利用虛白齋藏品不斷舉辦專題展覽，並出版圖錄、教育小冊子，以向公眾推介中國書畫藝術。2012年是「虛白齋藏中國書畫館」開館 20周年的大日子，故特別精選虛白齋藏品中 20位名家的經典之作，向劉先生的不朽精神致敬。2）館藏一百 ─ 香港藝術館藏中國繪畫特展展期：2013.03.22 – 2013.10.30陳列室：中國書畫展覽廳 (四樓)「館藏一百」展覽精選一百位由明末至近代畫家的作品，百件畫作展示了香港藝術

館中國繪畫收藏的豐富內容和特色。展出作品包括早期廣東名家張穆、黎簡、梁于渭、蘇六朋和蘇仁山等，展示了他們獨特的風格與表現手法。另「隔山畫派」的居巢、居廉兄弟，影響日後形成的「嶺南畫派」，成為中國繪畫史上一個舉足輕重的畫派。當中「嶺南三傑」高劍父、高奇峰、陳樹人，以及其弟子何漆園、趙少昂、關山月和楊善深等，力求引西潤中的理論和實踐；以及一眾「國畫研究會」的廣東畫家，包括潘龢、姚禮脩等，均提倡改革國畫，造成了當時畫壇巨大的迴響。

踏入 2 0世紀，尤其是隨着新中國的成立，來自五湖四海的畫家，包括：齊白石、黃賓虹、徐悲鴻、潘天壽、林風眠、張大千、李可染、陸儼少，以至近現代吳冠中、黃永玉等，他們在西方思潮的衝擊下，致力突破傳統；或是洋為中用、或是借古開今，形成了畫壇百花齊放的局面。而當時的香港亦形成了一批以保持傳統國畫為本的畫家，如：李研山、黃般若、彭襲明等，以及另一批自出新奇，突破傳統水墨規範的畫家，包括：丁衍庸、劉國松及呂壽琨等。發展至 80年代中後期，國內「新文人畫」在一片「理論熱」中崛起，當中一群經歷文革的年青中國畫家，包括：石虎、胡永凱、聶鷗、盧輔聖等，發展出一種特有的時代風格，其影響持續至今。

2. 香港中文大學文物館金曜風華：夢蝶軒藏中國古代金飾展覽開幕及研討會：2013年 5月 4日 展期：2013年 5月 5日至 10月 27日地點：香港中文大學文物館展廳 II

展覽以香港夢蝶軒所藏近三百項從公元前 1500年至公元 1700年間歐亞及中國金飾為核心，是香港眾博物館中第一次大規模、有系統的中國金器展覽。 這次展覽不僅展示一個重要的私人珍藏，更是首個綜合藝術史、文化交流史和工藝技術的中國金飾研究。作為公元前一千多年前經外族引入中國的金屬物料，黃金不僅帶來新穎的視覺享受，更為中國帶來嶄新的藝術、文化和技術的衝擊。展覽圖錄結合中國、歐亞和俄羅斯的考古發現，探討過去三千多年來，黃金在中國社會的角色與發展。

3. 澳門藝術博物館展期：28/3/2013 - 9 /6/2013陳列室：四樓中國書畫館今年適逢嶺南畫派大師楊善深誕辰一百周年，為此，澳門藝術博物館特舉辦“春風妙筆──楊善深百年誕辰藝術展”，展覽獲楊氏後人支持及協助，由楊氏弟子容繩祖組織，展出楊氏書畫佳作一百一十五件套，作品涵蓋楊氏近七十年的藝術創作，題材豐富，風格多樣，絶大多數作品首次展出，觀眾可從中較全面地看到這位嶺南巨匠的創作面貌，精彩難得。楊善深（1913－2004），字柳齋。廣東台山人。一九三零年移居香港，二十歲致力於畫藝，自修畫學。一九四一年香港淪陷，避居澳門，與高劍父，馮康侯等成立“協社畫會”。和平後返港定居，專心繪事，活躍港、澳兩地書畫藝術界，影響甚大，並設帳授徒，創作孜孜不倦，對推廣中國繪畫藝術及嶺南畫派，建樹良多，桃李滿門，有“嶺南派最後一位大師”之稱。一九九九年獲香港藝術發展局頒發視藝成就獎。

4. 澳門博物館象映乾坤——中國風展期：2013/5/24 - 2013/8/18陳列室： 澳門博物館三樓

展覽介紹 17世初至 18世紀末在歐洲、特別是在法國，掀起崇尚中國的藝術風格和生活習俗的“中國風”熱潮及其影響。80件/組代表性展品包括油畫，版畫，瓷器，掛毯等不同媒介，來自巴黎裝飾藝術博物館、羅浮宮博物館、塞夫勒國立陶瓷博物館、貝桑松考古美術館及永利渡假村（澳門）股份有限公司等機構。

5. 中國故宮博物院1）潔白恬靜—故宮博物院藏定窯瓷器精品展展期：2012年 9月 19日--2013年 7月 31日陳列室：延禧宮古陶瓷研究展廳

定窯是宋金時代北方地區聲譽最高、影響最大的窯場，以燒造白瓷為主，兼燒黑釉、醬釉、綠釉、黃釉瓷等。其遺址在今河北省曲陽縣，因該縣在唐、五代、北宋時曾隸屬定州管轄，故其境內窯場被稱作定窯。明清文人將其與汝、官、哥、鈞等著名瓷窯並稱，後來又出現宋代“五大名窯”的說法。

定窯始燒于唐代，宋金時代繁榮昌盛，元末以後逐漸停燒。該窯以燒造白瓷而名揚天下，產品造型規整，胎質潔白，釉質溫潤，多以刻、劃、印花和描金花等技法進行裝飾。其產品除大量行銷民間外，從晚唐到金代還曾是宮廷和官府用瓷的主要來源之一。宋金時期，定窯產量巨大，影響深遠，不僅當時遠近瓷窯競相仿效，形成龐大的瓷窯體系，而且後世一些窯場也常模仿。定窯瓷器也曾遠銷海外，在今天亞洲及北非一些國家的古代遺址中，均發現過定窯瓷器標本。本展覽以展示故宮博物院藏定窯瓷器為主，輔以定窯遺址、臨安市錢寬墓、西安市火燒壁窖藏以及湖南幾處墓葬考古發現

所得，基本上可以反映傳世和出土定窯瓷器的風貌。希望通過該展覽揭示定窯瓷器的藝術和歷史價值，也期待借此推動定窯研究的深入開展。

2）色彩絢麗—故宮博物院鈞窯瓷器展 展期：2013年 09月 20日-2014年 07月 31日陳列室：延禧宮古陶瓷研究中心展廳 3）指頭繪畫天地寬—高其佩指頭畫展 展期：2013年 12月 20日-2014年 02月 20日陳列室：延禧宮古書畫研究中心展廳

6. 中國國家博物館名家珍品集萃——孫照子女捐贈中國古代繪畫珍品展展期：2012年 12月 26日至 2013年 6月 26日陳列室：南區三層 14號展廳孫照先生（1899－1966）生前係北京市第六中學語文教師。1982年，孫照先生子女孫念臺先生、孫念增先生以及孫念坤女士三人，將其家藏的中國古代繪畫、書法等珍貴文物，先後兩次捐贈給中國國家博物館的前身中國歷史博物館。為表達對捐贈者的敬意，中國國家博物館從此批文物中甄選出部分繪畫佳作，在國博成立百年之際，舉辦了這次展覽。展覽囊括了元、明、清三代在中國繪畫史上具有重要地位的畫家的珍貴畫作。其中，元朝黃公望《溪山雨意圖》卷為黃公望七十歲左右之作，早于《富春山居圖》卷十多年，是目前所見黃公望最早的作品。元倪瓚《水竹居圖》軸為目前所見倪瓚年款的最早作品，也是國內僅見倪瓚設色之畫品。明沈周《桃花書屋圖》軸第一次與公眾見面，是研究沈周的重要文物資料。明文徵明《真賞齋圖》卷為文氏晚年細筆的代表之作。此外，明代趙左、董其昌、項聖謨，清代“四王”、惲壽平、郎世寧、查士標等名家的畫品亦為首次公開展覽，具有很高的藝術和資料價值。

7. 廣東省博物館1）海上瓷路——粵港澳文物大展展期：2012-11-13 至 2013-5-13陳列室：三樓展廳一2）金枝玉葉——明代江西藩王墓出土玉器精品展展期：2013-4-23至 2013-6-23陳列室：三樓展廳二

中華玉文化延綿八千年，先後經歷幾個承前啟後、不可替代的重要發展階段。1368年，朱元璋建立明王朝，恢復唐制，在冠服上用玉來體現等級貴賤，規定玉是統治階級的專用之物，因而明代也成為我國琢玉史上一個非常繁榮的時期。明代在江西分封了甯王、益王、淮王三蕃，經考古發掘的明藩王墓數十座，成為全國明代玉器出土最為集中的地區。《玉葉金枝——明代江西藩王墓出土玉器精品展》展品來自明代江西寧、益兩

大封藩藩王及家族成員墓出土的玉器或金玉寶石鑲嵌的配件。展品九十二件（套），其中國家一級文物 10件、二級文物 27件、三級文物 39件。展覽分為圭見禮儀、玉帶尊貴、玉佩玎璫、珠玉琳琅、玉具風情、金玉良緣六個部分。展覽兼具觀賞性和研究性。一方面，玉器品類多種，質地瑩潤，雕琢細緻，紋樣精美，反映了明代諸藩王富貴堂皇、窮奢極侈的生活場景；再者，展品的物主和時代明確，為研究明王朝中央和地方制玉的相互關係提供了新的視角，對傳世玉器研究也具有較好的參照作用。

8. 京都國立博物館魅惑の清朝陶磁展期：平成 25年 10月 12日（土）～12月 15日（日）陳列室：京都国立博物館 特別展示館古来、「やきもの」の王者として名高い中国陶磁の中でも、その精巧さ、緻密さにおいて他を圧倒しているのが清時代の陶磁器です。ヨーロッパの王侯貴族に愛されたことはよく知られていますが、開国後だけでなく、鎖国下の日本へももたらされ、各地のやきもの生産に大きな影響を与えました。数々の名品を通してその精髄に触れると共に、日本人がいかに清朝の陶磁器を賞玩してきたのか、最新の調査成果によって、その足跡を辿ります。

9. 大和文華館1）中国陶磁の広がり - 愛好・写し・展開 -展期：2013年 5/17（金）～6/30（日）中国陶磁は技術の高さや魅力溢れる造形により、世界の陶磁器に大きな影響を与えてきました。人々は中国陶磁にあこがれ、愛好し、写しを作り、また独自の美意識に合わせて新しい造形を生み出しました。日本やヨーロッパの作品とともに中国陶磁の展開を見ていきます。2）海を越える美術 - 日本をとりまくアジアとヨーロッパ -展期：2013年 7/5（金）～8/18（日）異文化に好奇の視線を向け、積極的に取り入れることで、美術品は新たな美を獲得していきます。１７～１９世紀を中心に、日本にやってきた中国人画家およびそれに影響を受けた日本人画家の絵画や、東洋人に愛された西洋の硝子工芸など、海を越えた交流の生み出した美術作品を展示します。3）水墨画名品展展期：2013年 8/23（金）～10/6（日）中世の水墨画を代表する可翁筆「竹雀図」、大胆な構図が魅力的な雪村筆「呂洞賓図」をはじめ、当館には水墨画の優品が数多く所蔵されます。濃淡や階調、描線を駆使して生み出される表現には、無限の広がりが見られます。時代を超えて人々に愛され続ける、水墨画の幽玄な世界をお楽しみ下さい。4）竹の美

展期：2014年 2/21（金）～3/30（日）黒川古文化研究所、泉屋博古館との三館連携「松・竹・梅」展の一環として、竹を表した美術品を展示します。空に向かってまっすぐに伸び、冬の寒さの中でも青さを保ち風雪の中でもしなやかに折れることのない竹、君子に愛されたその美しさをご堪能ください。

10. 九州國立博物館中国 王朝の至宝展期：平成 25年 7月 9日（火）～9月 16日（月・祝）陳列室：特別展示室中国は、黄河や長江などの大河、起伏に富んだ大地に抱かれ、古来各地に特色ある文化圏を形成してきました。日中国交正常化 40周年を記念する本展は、初期王朝とされる夏にはじまり、宋にいたるまでのおよそ 3000年の時間を縦糸に、それぞれの時代に栄えた２つの王都や地域を横糸に、これらが織りなすダイナミックで多彩な世界をご紹介する大型企画。東京、神戸、名古屋と巡回する「中国 王朝の至宝」がついに九州に上陸します。美術大全集などでもお馴染みの名品が揃います。

11. 大阪市立美術館北魏 石造仏教彫刻の展開展期：9月 7日（土）～10月 20日（日）インドで生まれた仏教は、中国へ後漢時代（紀元後 1世紀頃）に伝えられ、南北朝時代（5-6世紀）になると国家事業としての寺院の建立と巨大な石窟の造営が行われました。 そして、仏教が広く中国全土に浸透する中で、地域ごとに特色のある仏像が生み出されるようになります。 こうした長い中国仏教史において、最も優れた石造仏教彫刻が生み出されたのが、南北朝時代の北魏（ほくぎ/386-534）王朝でした。 本展では国内に収蔵される主要な優品と、山口コレクションをはじめとする館蔵･寄託作品を加えた約 60件により、北魏石造仏教彫刻の全体像について「仏像の地域性」をキーワードに浮き彫りにしたいと考えています。 日本において、中国の仏教彫刻はまだまだ人々の目に触れられていないのが現状といえます。 しかしその一点一点を観察すると、今日では不可能なほど精巧な彫刻技術を示す作品や、素朴な温かみを感じさせる作品、さらには日本の仏像と密接な関係をもつ作品など、見飽きることがありません。

12. 1韓國國立博物館1) Goryeo and Liao

Location: Metal Crafts Gallery in the Permanent Exhibition Hall, 3FDate: 10-08-2013 ~ 12-08-2013

This exhibition will feature metalworks from the Liao dynasty in the collection of National Museum of Korea. Comparing shapes, designs, and techniques of Liao metalworks to those of Goryeo, the exhibition will especially explore cultural exchanges between Korea and Chinahttp://www.museum.go.kr/program/show/showDetailEng.jsp?menuID=002002002&searchSelect=A.SHOWKOR&showCategory1Con=SC1&showCategory2Con=SC1_1&pageSize=10&langCodeCon=LC2&showID=7131&currentPage=1

2) The Taoism in Korea: Deities and ImmortalsLocation: Special Exhibition GalleryDate: 12-10-2013 ~ 03-02-2014The Taoism in Korea: Deities and Immortals will be the first major exhibition ever held on the theme of Taoism and its influence on Korean life and culture. The exhibition is going to display the comprehensive collection of Taoist cultural artifacts including paintings, books, documents, crafts, and archaeological achievements from the ancient times to the Joseon Dynasty. It is expected that the exhibition will be an opportunity for the visitors to deepen their understanding on Taoism which has been a significant element of Korean traditional culture along with the Confucianism and Buddhism.http://www.museum.go.kr/program/show/showDetailEng.jsp?menuID=002002002&searchSelect=A.SHOWKOR&showCategory1Con=SC1&showCategory2Con=SC1_1&pageSize=10&langCodeCon=LC2&showID=7151&currentPage=1

13. 韓國國立光州博物館한중 수교 20주년․자매관 교류 5주년 기념 특별전──中韓交流週年特展 천하제일 강남명품 “절강성의 보물” 개최──浙江名寶展展期：2012年 9月 24日始http://gwangju.museum.go.kr/sub6/sub1_view.do?boardId=J1274231299671&idx=5578&type=&page=

歐美1. Freer Gallery of Art

1）Promise of Paradise: Early Chinese Buddhist SculptureOpens December 1, 2012The Freer’s impressive collection of stone and gilt bronze Buddhist sculptures highlights two flourishing ages, the sixth century and the High

Tang (6th–8th century). The exhibition’s dramatic focus is the monumental Cosmological Buddha: a life-size stone sculpture covered in intricate representations of the realms of existence, ranging from hell to the abodes of the devas, or Buddhist gods.2）One Man’s Search for Ancient China: The Paul Singer CollectionJanuary 18–July 7, 2013The two-bedroom New Jersey apartment of psychiatrist-turned-collector and scholar Paul Singer (1904–1997) was once packed with more than 5,000 objects he assembled over the course of seventy years. Singer’s bequest to the Arthur M. Sackler Gallery created one of the largest and most significant Chinese archaeological collections in the United States. This exhibition of Singer’s gift not only looks at the collector’s legendary life, but also examines how landmark archaeological discoveries have shed new light on his acquisitions and on life in ancient China. Highlights include an early bronze plaque with exquisite turquoise inlay; jade and stone objects that closely resemble those found in the tomb of the royal consort Fu Hao dating to the 13th century BCE; 2,000-year-old human hairpieces; and a group of rare and amusing figurines and miniature vessels.

2. Asian Art Museum of San Francisco1）China's Terracotta Warriors Return to San FranciscoFebruary 22–May 26, 2013The Asian Art Museum celebrates its 10th anniversary in its Civic Center location by presenting a major exhibition examining the life and legacy of China's First Emperor, a complex leader whose sheer ambition continues to fascinate. Featuring 120 rare objects—including 10 terracotta figures—from one of the greatest archaeological discoveries of our time, China’s Terracotta Warriors: The First Emperor’s Legacy takes visitors on a journey from the birth and rise of the Qin Empire to the life and rule of the First Emperor, his quest for immortality, and his death, burial, and complex legacy. The exhibition also features bronze ritual and jade artifacts, gold and silver ornaments, and palatial architectural components—some on view for the first time in the U.S.—illustrating the emergence of the Qin State. The objects are drawn from more than 13 institutions in China, including the Museum of Terracotta Warriors and Horses, the Shaanxi Provincial Archaeological Institute, and the Shaanxi History Museum.

The Asian Art Museum was among the first museums outside China to feature some of the terracotta figures in a major exhibition held in 1994. Nearly forty years after its discovery, Chinese archaeologists are still making discoveries around the burial mound of one of the most remarkable figures in the history of China, the First Emperor. The exhibition focuses on this extraordinarily influential man. 2）Pan-Asian Ceramics: Export, Import, and InfluenceDecember 2012 – June 2013International trade has occurred since ancient times. The exchange of

ceramics, an important trade good, influenced design styles and production techniques across vast geographic regions. Ceramics served utilitarian purposes, were used as burial objects, decorative items, status symbols, and given as tributary gifts. China, the country that had the largest impact on the worldwide ceramics industry, began to export wares in large numbers during the Tang dynasty (618–906). By the eleventh and twelfth centuries, beautifully crafted, high-fired Chinese ceramics provided examples and inspiration to Vietnam, Thailand, Korea, Japan, and Persia.Although China dominated the ceramics export market, Japan, Thailand,

and Vietnam also exported wares in various centuries. Each ceramic center learned the preferences and tastes of consumers in other regions and produced ceramics specifically for these foreign markets. Artisans crafted ceramics in certain shapes and sizes with designs and colors that their customers in locations such as Southeast Asia, Turkey, or Europe preferred. The ceramics trade can be divided into two broad periods. The first began in approximately the ninth century and ended in the sixteenth century. During this period, Chinese, Southeast Asian, and Arab merchants dominated the ceramics trade. In the second period, from the sixteenth to the eighteenth centuries, Japanese and European merchants joined the trade.The Chinese perfected the large-scale production of porcelain more than

one thousand years ago. Shortly after its introduction, porcelain was sought after for its beauty, durability, and pure-white color. Adding to its allure, the technique of decorating ceramics with blue pigment made from cobalt, which originated in Persia, was incorporated by Chinese artisans during the first half of the fourteenth century. Chinese blue-and-white porcelain soon became one of the most universally admired and widely imitated of all ceramics.Korea developed porcelain in the late 1300s. The Japanese followed, and by

the 1640s, began to successfully compete with Chinese porcelain exports. Other regions such as Persia lacked the necessary raw materials to fabricate true porcelain, so instead, made a soft-paste version known as fritware. Vietnam also crafted blue-and-white painted pieces from stoneware. Europe eventually uncovered the secret to making porcelain in the early 1700s.This exhibition features a fine selection of ninth- to eighteenth-century

ceramics from the Asian Art Museum, San Francisco. Persian fritware, Vietnamese stoneware excavated from a shipwreck off the country’s central coast, blue-and-white export porcelain, as well as Korean and Thai celadon, are some of the many objects on display.

3. Musée GuimetBronzes archaïques chinoisDu 13 mars au 10 juin 2013Cette exposition présentera pour la première fois au public en France une collection unique de 150 bronzes de la Chine d’avant notre ère. Ces objets, d’une grande diversité de formes et de motifs, objets rituels ou utilitaires, témoignent magnifiquement de la civilisation chinoise naissante.

4. Nelson-Atkins Museum of ArtJourney Through Mountains and Rivers: Chinese Landscapes Ancient and ModernFebruary 8 - April 28, 2013For thousands of years Chinese poets and painters have revered nature as a source of spiritual and artistic inspiration. In these ancient and modern landscape paintings, discover towering mountains and craggy cliffs, winding rivers and joyous fishermen, scholars composing poems or dreaming of immortals. Climb to half-hidden temples among dense forests, peer into mists and imagine infinity. And be encircled by the largest Chinese landscape ever created, The Law of the Dao Is Its Being What it Is. Journey through Mountains and Rivers is a rare opportunity to view some of the Nelson-Atkins’ most celebrated Song Dynasty (960–1279) paintings, which, because of their fragility, will not be displayed again for ten years. It is also the first showing in the United States of Xu Longsen, one of China’s new generation of landscape painters.

5. Cantor arts center at Stanford university

Border Crossings: From Imperial to Popular LifeThrough August 4, 2013Madeleine H. Russell Gallery How are the boundaries between social classes and identities challenged and transcended? This exhibition explores that question by considering art production in China and Japan during the last three hundred years. After recent research and reevaluation, two sets of 18th century Chinese paintings from the collection have been rescued from obscurity and are now on view here for the first time. These works demonstrate how artisans outside palace walls reproduced the subjects and styles of imperial paintings in order to satisfy the demands of a rising social class. In addition, the exhibition features Japanese woodblock prints of civil life, urban scenes and coveted fashions of the “floating world”—images that existed despite the ruling shogunate’s regimentation. Forty-three works on display.

6. Princessehof Museum of Ceramics in Leuwarden (Netherlands)Mysterious Ming24 March to 27 October 2013Why does someone pay millions of dollars for a vase? What is it that makes Ming porcelain so special? From 24 March 2013 visitors to the Princessehof can embark on a voyage of discovery through the most famous dynasty in Chinese history. The museum will exhibit highlights from its collection in an Oriental ambiance. From an emperor’s tableware to VOC shipwrecks – the mysteries of the Ming are unravelled in Leeuwarden (the Netherlands).The vase that sold for 21,6 million… A new auction record was set in 2011 when Sotheby’s auctioned a Ming vase for 21,6 million dollars. And who among us hasn’t hoped that the Chinese vase we found while rummaging at a jumble sale might be a Ming vase. And whenever we see bunglers such as Mr Bean or Laurel & Hardy on screen, a Ming vase is sure to take a tumble. Ming is synonymous for extremely expensive antiques. But why is Ming so expensive anyway? What is it? And why are we so familiar with the Ming dynasty, while the Qing is largely forgotten? Our exhibition Mysterious Ming answers these and many more questions.Mysterious MingAn audio tour guides visitors on their voyage of discovery through China in

the period 1368 to 1644. The story is told in its entirety: from the rise of the Ming in the 14th century to the death of the last emperor three centuries later. Visitors can imagine themselves in the Forbidden City and admire the same dish that Chinese Emperor Zhengde dined from 500 years ago. One of the highlights of the exhibition is the porcelain cargo salvaged from two VOC shipwrecks, remarkable testaments to the Dutch trade in Chinese porcelain in the early 17th century. The salvage operations are recreated with underwater photographs taken during their recovery. Current representations and clichés about anything and everything Ming as portrayed in TV commercials and films are also included in the exhibition. The Princessehof’s Ming collectionThe Princessehof’s wide-ranging collection of Oriental objects is internationally renowned, including as it does priceless Imperial porcelain to the world’s most important collection of trade porcelain. Ming porcelain is characterised by its technical and aesthetic perfection and is still regarded as the pinnacle of refined porcelain in China and the West. The exhibition Mysterious Ming includes 250 rare vases, dishes and jugs. The collection came about primarily because of Nanne Ottema’s (1874–1955) passion for collecting. A lawyer in Leeuwarden, Ottema also founded the Princessehof, Museum of Ceramics in Leeuwarden (the Netherlands).http://www.princessehof.nl./mededeling/304.html

7. Asian Art Museum, National Museums in Berlin Rebirth of Canons: The Art of Copy in Chinese Painting and Calligraphy17.03.2013-15.09.2013A "Canon" is an art work that is generally considered to be the most influential. A characteristic phenomenon in the historical development of Chinese painting and calligraphy is that Chinese artists constantly learn through imitation of classic works. This does not mean however that artists lacked original ideas or creativity, what they have been doing is taking the canons from old masters as examples, and through copying them, are able to emulate historical styles and then use that as a basis for their own creative contributions. One can also identify rivalry between the old masters and artists who followed them; the old masters set up the canons and later other artists appropriated their schemas and techniques, first to imitate them, then to transcend them as they became masters themselves. In this way the canon is repeatedly reborn and evolves in Chinese art.

This exhibition focuses on the specifics of this practice in Chinese painting and calligraphy through selected masterpieces from the collection of the Asian Art Museum to demonstrate this intriguing learning process.Display-list:

1 Fang Shishu

方士庶Landscape in Ancient Style (12 Pages)

仿古山水冊（十二開）2 Chen Jiru

陳繼儒Landscape in Style of Juran

倣巨然山水扇面

3 Wang Shimin

王時敏Landscape in Style of Juran

倣巨然山水圖扇面

4 Wang Jian

王鑑Landscape in Style of Juran

倣巨然筆意扇面

5 Dong Qichang

董其昌Landscape in Style of Mi Fu

倣米芾山水圖扇面

6 Lan Ying

藍瑛Landschaft im Stil des Mi Fu

倣米芾山水圖扇面

7 Dong Qichang

董其昌After Mi Youren’s “Glamourous Landscape of Xiao and

Xiang Rivers”

倣小米瀟湘奇境圖卷

8 Wang Yuanqi

王原祁Landscape in Style of Mi Youren

倣小米山水扇面

9 Fang Shishu

方士庶Mountains and Cliffy Shore

山水圖軸1

0

Wang Shimin

王時敏Landscape in Style of Huang Gongwang

倣大癡山水圖軸

1

1

Wang Jian

王鑑“Autumn Mountains” in Style of Huang Gongwang

倣子久秋山圖扇面

1

2

Wang Jian

王鑑“Autumn Mountains” in Style of Huang Gongwang

擬子久秋山圖軸

1

3

Dai Xi

戴熙

After Wang Shimin’s “Autumn Mountains”

師王時敏秋山圖扇面

1

4

Zhou Shichen

周世臣

Landscape in Style of Huang Gongwang

倣黃公望山水圖扇面

1

5

Yun Shouping

惲壽平Landscape

山水圖扇面

1

6

Wang Shimin

王時敏Landscape in Style of Zhao Mengfu

倣趙孟頫山水扇面

1

7

Cao Xi

曹羲Figure Painting in Style of Zhao Mengfu

摹趙孟頫人物扇面

1

8

Liu Du

劉度Mountain Valley with a Monastery in Autumn

山水軸1

9

Zhang Hong

張宏After Wang Meng’s “Secluded Dwelling in the

Qingbian Mountains”

倣王蒙青卞隱居圖扇面2

0

Shangrui

上 睿

Landscape in Style of Wang Meng

倣王蒙山水圖扇面

2

1

Zhang Yan

張彥Landscape in Style of Wang Meng

倣王蒙山水圖扇面

2

2

Wu Zi

吳咨Couplet written in Seal Script

篆書對聯2

3

Huang Yue

黃鉞Calligraphy in Style of Wang Xizhi

臨王羲之書扇面

2

4

Aixinjuelou

Yongxing

愛新 ˙覺羅 永惺

Calligraphy in Style of Wang Xizhi

臨王羲之書扇面

8. Musée CernuschiL'ÉCOLE DE SHANGHAI (1840-1920)Peintures et calligraphies du musée de Shanghai8 mars - 30 juin 2013Pursuing the exploration of Chinese painting begun with the exhibitions Six Centuries of Chinese Painting in 2009 and Chinese Artists in Paris in 2011, the Musée Cernuschi, with the aid of remarkable loans from the Shanghai Museum, is throwing fresh light on a key period in the history of Chinese Art, during which Shanghai painters and calligraphers laid the foundations for a new modernity.In the 19th century the Qing Dynasty was shaken by the Taiping

Rebellion and military threats from the Western powers. Beginning in the 1840s the Jiangnan region of southern central China was the scene of armed conflicts which ravaged the cities of Nanjing (Nankin), Yangzhou and Hangzhou. The community of artists who had contributed to the remarkable prestige of these cities during the 18th century was dispersed, with many of the painters and calligraphers fleeing the conflicts and converging on the Shanghai region, where a new culture

influenced by contacts with the West took shape. These upheavals gave rise not only to radical cultural change, but also to a thoroughgoing regeneration of the visual arts, characterised by a new freedom of line and the abrupt arrival of colour. The exhibition opens with the heritage of Jiangnan, showing how from one genre to another the painters assimilated the styles created in the region. It then looks in detail at the most significant personalities: those who, like Ren Xiong or Ren Bonian, triggered a break with the usual representation of the human figure by the introduction of realistic and cartoon-style images; and others who, like Xu Gu, abandoned the terrain of stylistic formulas inherited from the early Qing and turned towards fundamental simplification. The transposition of calligraphic models into the field of painting gave new status to the expressive power of line. Initiated by Zhao Zhiqian, this style found its culmination in the work of Wu Changshuo, and its evolution is probably most manifest in the "paintings of flowers and birds" genre: here the stem of a plant or the tail of a fish can take on a liveliness and energy whose effect is enhanced by vivid colours sometimes borrowed from the Western palette.

演講：1. From Object to Concept - Global Consumption and the Transformation of

Ming PorcelainStacey Pierson: Senior Lecturer, SOAS, University of London18:00-19:30, Thursday, 25th April 2013Museum of East Asian Art, Bath12 Bennett Street, Bath, BA1 2QJMing porcelain is among the world’s finest cultural treasures. From ordinary household items to refined vessels for imperial use, porcelain became a dynamic force in domestic consumption in China and a valuable commodity in the export trade. In the modern era, it has reached unprecedented heights in art auctions and other avenues of global commerce.This book examines the impact of consumption on porcelain of the Ming period and its transformation into a foreign cultural icon. The book begins with an examination of ways in which porcelain was appreciated in Ming China, followed by a discussion of encounters with Ming porcelain in several global regions including Europe and the Americas. The book also

looks at the invention of the phrase and concept of ‘the Ming vase’ in English-speaking cultures, and concludes with a history of the transformation of Ming porcelain into works of art.“The book has an impressive historical scope, from the 14th to the 21st century. Secondly, it ranges over a variety of interesting topics relevant to the history of a famous commodity—in addition to discussing the economic production, social use, and reception of Ming porcelain throughout the world, it has a novel and often amusing account on the treatment of Ming porcelain in modern popular UK and US culture. It presents an extensive coverage of recent English-language work on Chinese porcelain, and attempts to put the study of Ming, and by extension Chinese, porcelain in a wider conceptual framework, that of transcultural shifts in the use and meaning of art objects.”—Joseph P. McDermott, University of Cambridge£4 for public£2.50 for Museum Friends and studentsPlease book and pay by Tuesday, 23rd Aprilby calling 01225 464640

2. Send us no more dragons: Chinese Porcelains for Western MarketsWilliam R. SargentRingling Museum of Art Florida State University 9 May 2013 Treasured for its delicate forms, translucency and durability, porcelain was first produced in China around the 8th century. The "secret" of porcelain eluded the West for centuries where the technology would not be fully duplicated for another thousand years. The history of the trade in this unique material, the exportation of ceramics from 15th century to 18th century, their use in interior design, and the influence of export ware on European ceramic technology and history is discussed in this talk.

3. Reflection on the Ge Gu Yao Lun ： Sir Percival David’s Chinese connoisseurshipProfessor James C. Y. Watt13 May 2013 at 6:00 pmKhalili Lecture Theatre followed by a receptionSOAS, Thornhaugh Street, Russell Square, WC1H 0XG

James C. Y. Watt (Qu Zhi-ren) is Curator Emeritus of the department of Asian Art at the Metropolitan Museum of Art, and J S Lee Professor of Chinese Culture at the Chinese University of Hong Kong.He began his career at the Metropolitan Museum in 1985, as Senior Consultant for Chinese Antiqui-ties and Decorative Arts. He became Brooke Russell Astor Senior Curator in the Department of Asian Art in 1988 and assumed the chairmanship of the department in 2000. Earlier in his career, Mr. Watt served 1981-1985 as Curator of the Department of Asiatic Art at the Museum of Fine Arts, Boston. At the Chinese University of Hong Kong, he was also Chairman of the Board of Studies in Fine Arts (1977-80) and Curator of the Art Gallery, Institute of Chinese Studies.Over the past four decades, Mr. Watt has been curator of a number of major exhibitions, and author of scholarly catalogues. These have included, in recent years, the Metropolitan Museum exhibit-ions Splendors of Imperial China, Treasures from the Palace Museum, Taipei (with Wen Fong), 1996; When Silk was Gold: Central Asian and Chinese Textiles in the Metropolitan and Cleveland Museums of Art (with Anne Wardwell), 1998; China: Dawn of a Golden Age, 200-750 A.D., 2004-2005; The World of Khubilai Khan: Chinese Art in the Yuan Dynasty, 2010-2011.

研討會：

1. Enduring Dharma: A Symposium on the Inscription of Buddhist Scriptures on StoneSATURDAY APRIL 20, 2013 - Betts Auditorium (Architecture N101), PrincetonChinese Buddhists began to prepare for the apocalypse in the sixth century by carving the Buddhist canon into stone. In the most massive projects, texts on stone slabs were set into the walls of caves and buried underground or in vaults. Other believers tried to preserve the Buddhist law (Dharma) by arranging sutras and statues of Buddhas on natural cliff-faces to form multimedia ritual environments. Since 2005 a multidisciplinary team sponsored by the Heidelberg Academy has been researching Buddhist stone inscriptions in China. This public symposium presents this project to a general audience and reflects on the practice of inscribing s?tras on stone from a variety of disciplinary perspectives and in contexts outside of China

Participants:Lothar Ledderose, Heidelberg University

John Strong, Bates CollegeRobert E. Harrist, Jr., Columbia UniversityD. Max Moerman, Barnard College

http://religion.princeton.edu/main/events/current-events/enduring-dharma-symposium/

2. 金曜風華：夢蝶軒藏中國古代金飾時間：5月4日地點：香港中文大學 中國文化研究所L1室 文物館上午9:30 登記及接待上午 10:00 歡迎辭 林業強－香港中文大學文中國文化研究所文物館館長上午 10:10 引言 屈志仁－香港中文大學利榮森中國文化講座教授、前大都會藝術博物館亞洲藝術部主任上午 10:25 Emma C. Bunker － 丹佛藝術博物館顧問如何理解古代歐亞及中國北方草原文化金器上午 11:00 ****************** 小休 ******************上午 11:15 楊軍昌－陝西省考古研究所文物保護組主任科學分析在古代中國金器研究的重要性上午 11:45 霍巍 四川大學教授公元七至九世紀獨特的吐蕃（古西藏）文化金器下午 12:30 ****************** 午餐 ******************下午 2:00 許曉東 北京故宮博物院研究員中原本土金器（唐至明代）下午 2:40 羅森 牛津大學藝術及考古學教授總結與金器研究的未來方向下午 3:15 研討會結束：預展及開幕傍晚 慶祝晚宴：文物館館友會

3. Chinese Object Study Workshops: Call for Student ApplicationsChinese Object Study Workshops is a pilot program that will provide graduate students in Chinese art history with an immersive experience in the study of objects—in particular, those belonging to the great collections of Chinese art at the Metropolitan Museum of Art, the Nelson-Atkins Museum of Art, and the Freer Gallery of Art and Arthur M. Sackler Gallery (Freer|Sackler). There will be two workshops in 2013:Chinese Bronzes, June 3–7, 2013, Freer|Sackler Galleries, Smithsonian Institution

Writing and Chinese Art, August 26–30, 2013, Metropolitan Museum of ArtWorkshop members will spend the week engaged in intensive object study, discussion, and research with a small group of other graduate students, two faculty members, and curators and conservators from the host museum.To Apply:The program is open to students enrolled in a graduate art history program at a North American university and pursuing a doctoral degree in Chinese art. Applicants may be of any nationality and may apply for more than one workshop. Transportation, lodging, and some meal support will be provided. For detailed information about workshop descriptions and application instructions, please see www.asia.si.edu/research/workshops/chinese-object-study.aspThe application deadline is January 4, 2013, with decisions announced by February 1, 2013.Dr. Nancy MicklewrightHead, Scholarly Programs and PublicationsFreer|Sackler GalleriesSmithsonian

4. Thoughts and things in ChinaFriday 14 June, 09.30–18.30Saturday 15 June, 10.00–18.30 Stevenson Lecture Theatre Leading scholars discuss significant issues in the field of Chinese art and archaeology in honour of Professor Dame Jessica Rawson.Led by panel chairs Lothar Ledderose, Wu Hung, Jenny So, Mei Jianjun, Craig Clunas, Shelagh Vainker, Jane Portal and Chris Gosden.Including issues such as cross-cultural interactions, ancient bronzes, tombs and afterlife, and religion. Organised by her students, this international conference celebrates the major scholarly contributions made by Professor Dame Jessica Rawson at the British Museum and the University of Oxford in her long career.

5. Global goes Local: Visualizing Regional Cultures in the Arts of Greater China

Hong Kong Baptist UniversityJune 27-29, 2013Speakers include, among others:· Prof. Toshio Watanabe, University of the Arts London· Mr Feng Boyi, Independent Curator· Dr Lars Nittve, M+· Dr Pi Li, M+· Prof. John Aiken, Hong Kong Baptist University· Prof. Huang Xiaopeng, South China Normal University / HB STATION, Times Museum, Guangzhou· Prof. Frank Vigneron, Chinese University of Hong Kong· Dr Florian Knothe, University of Hong Kong· Ms Mali Wu, Head & Associate Professor, National Kaohsiung Normal University · Mr Frank Lei, Macao Polytechnic Institute· Mr Lukas Tam Wai Ping, Chinese University of Hong Kong· Dr Ho Siu Kee, Hong Kong Baptist University· Dr Liu Yu-jen, Academia Sinica· Dr Rui Oliveira Lopes, University of Lisbon· Dr Lo Wai Luk, Hong Kong Baptist University· Dr Natalie Seiz, Art Gallery of New South Wales, Sydney· Dr Minna Valijakka, University of Helsinki, Finland· Dr Christine Vial-Kayser, IESA / Musée-Promenade· Dr Florian Wagner, University of Erlangen-Nuremberg· Dr Wang Ruobing, The National Art Gallery Singapore· Ms Annette Loeseke, Independent Researcher & Museum Consultant

研討會徵稿：1. New Work In The Art History And Archaeology Of Asia

An Oriental Ceramic Society One-Day Conference For Early Career ScholarsLondon, Kensington Central Library22 JUNE 2013 The Oriental Ceramic Society, a learned society founded in 1921, is organising a broad-based conference on topics in Asian art, archaeology and material culture. This will be the second in a series of study days focussing on different regions, with the aim of introducing a new generation of scholars to Oriental Ceramic Society members, and

emerging scholars to an audience that includes yet reaches beyond the academic world. If you are in the early stages of a university or museum career in Asian art history or are pursuing a doctoral dissertation, and would like the opportunity to present your research to an informed general audience as well as specialists, we would like to hear from you. The Oriental Ceramic Society holds monthly lectures in London at the Society of Antiquaries in Piccadilly on all aspects of Asian art, with particular emphasis on the ceramics of East Asia. Lectures are published in the annual Transactions of the Oriental Ceramic Society. This new initiative aims to provide a platform for younger researchers, curators and academics to discuss their work before an audience of colleagues and collectors. Summaries of lectures and selected full papers will be published in the Transactions. In addition to the lecture programme and a regular newsletter with research updates, book reviews and bulletins on new archaeological discoveries, OCS activities include: study days and conferences; exhibitions drawn from members’ collections; discussion and handling groups; visits to private and public collections; tours to kiln sites and museums in China. Please send an abstract of not more than 500 words to ocs.london@btinternet.com preferably before 28 February 2013.

2. The Conservation of East Asian Cabinets in Imperial Residences (1700-1900)

We are pleased to announce the 1st International technical workshop within the framework of the research project “Asian interior decoration in Schönbrunn Palace: conservation sciences for research, amendments and new perspectives on art and cultural history, restoration history of the Asian collection“ to be held July 4th to 5th, 2013 at the Schönbrunn Palace Conference Centre in Vienna.

This conference brings together conservators, conservation scientists and art historians active in the field of conservation concerns of cabinet ensembles, porcelain, lacquer ware and paper with East Asian context.

The conference will be highly multidisciplinary, exploring various aspects of Asian interior decoration in imperial palaces (still existent or since lost). Lectures and discussions will feature in the workshop. The main topics are conservation strategies for historical settings with an East Asian context. General and thematic discussions will focus on mounting

and installation strategies, optimization of exhibition procedures (embedded in the broad field of Preventive Conservation), and historical and modern mounting concepts (especially for ceramics). Presentations will include conservation sciences, technical and technological examination and material analyses (cutting-edge technologies for material and structural diagnostic of porcelain, lacquerware and paper/watercolours). Amendments to art historical research and cultural contextualization will concern research and determination of provenance, history and dating of objects with contributions from conservation sciences as well as the differentiation between the imported Asian originals, European adaptations of imported goods or European works modeled on original Asian ceramics and lacquer items. In addition, case histories will be an essential part of the workshop – zooming in on the ensemble of collections, on their history, on the history of individual objects, while at the same time always considering their restoration history.Technical details:The workshop is organised by the University for Applied Arts/ Institute of Conservation and Restoration, and the Schloß Schönbrunn Kultur- und Betriebsges.m.b.H. Support is given by the Austrian Science Fund.The lectures planned should not exceed 20 min.Call for Papers Papers about related topics are welcome. A 2000 character abstract should be submitted by 28.03.2013. Full papers (10 - 15 pages including references, notes, graphs and tables) for the planned postprint volume should be submitted by 30.04.2013. The abstract should contain the full title of the paper, full names of the authors, addresses of their institutions and e-mail contact details and should be supplemented by 5 key words and a short CV.Language: EnglishWorkshop fee: 200€ (students reduced fee of 80€), lecturers free of charge.Contact:If you wish to present a contribution, please send an abstract by March 28th, 2013 to: kons-rest@uni-ak.ac.at Project leader Prof. Dr. Gabriela KristProject coordination Birgit MüllauerPlease feel free to distribute this call to everybody who might be interested.

3. Conference Venue: Harvard Center ShanghaiDate: 24-25 October 2013Call for Papers - 参会学者请作限时 20分钟的中文或英文陈述。Scholars are invited to present twenty-minute talks in either Chinese or EnglishVilla I Tatti - The Harvard University Center for Italian Renaissance

Studies (Florence), is pleased to announce a two-day conference at the Harvard Center Shanghai, the first event in China to address the field of Italian Renaissance Studies. This conference, complete with simultaneous translation, aims to help create a community of scholars in Greater China who can collaborate and exchange ideas about their related interests. It will present recent research by scholars in Greater China who study or teach any topic relating to the Renaissance, broadly defined as the period ranging from the 13th to the 17th centuries. This will provide an opportunity for scholars at all levels to establish and develop contacts, especially with colleagues working in different departments. The organizers welcome proposals that consider the art, architecture, history, literature, music, philosophy, religion, and science of Renaissance Italy, as well as historiography of the period, and the circulation of ideas, objects, and people. One section, devoted to education, will explore different ways that the Renaissance is and could be taught in Chinese universities and academies. Lino Pertile, Director of Villa I Tatti, will give a lecture on "Morality and Success from Dante to Machiavelli." This conference is organized by Villa I Tatti, in collaboration with the

Harvard Center Shanghai and the Department of Art History in the College of Fine Arts, University of Shanghai. Participants in the I Tatti Summer Seminar 2013, on “The Unity of the Arts in Renaissance Italy,” will take part in the conference thanks to a grant from the Getty Foundation (Los Angeles) through its “Connecting Art Histories” initiative. We are pleased to have the institutional support of the School of Humanities, Central Academy of Fine Arts (Beijing), Harvard-Yenching Institute (Cambridge, Mass.), the Museum of Art and Archaeology at Zhejiang University (Hangzhou), and the Department of Art History and the College of Letters and Cultural Heritage, Tainan National University of the Arts (Tainan City). CALL FOR PAPERS:

Please include a title and 250 word summary, in both English and Chinese.请附以中英文双语标题和 250字论文摘要。Applicants are required to: • live and work in Greater China (Mainland, Taiwan, Hong Kong, or

Macau).• teach or study any aspect of the Italian Renaissance; this could be part

of a course or research on a broader topic, e.g. Western culture. • have a PhD (for professors); MA or March (for curators and architects);

or a Ph.D. dissertation in progress (for graduate students)• have a basic command of English, in order to communicate with

conference organizers. (The paper itself can be given in Chinese or English.)

Deadline for Paper Proposal: 15 June 2013