藝術/文化/史ArtsInfo

05/11/2013 1. 感謝Kevin McLoughlin、盧慧紋、許文美、王靜靈、Uta Rahman-Steinert所提供的資訊。部分訊息轉貼自Nixi Cura維護之Arts of China Consortium網站。

2. 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。

3. 若有與中台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。

4. 最新訊息以紅色標示，內容包括中(Big5)、英、日文(IME)碼。5. 本期更新：展覽、研討會。6. 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■ 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■ 歐美1. Freer Gallery of Art2. Asian Art Museum of San Francisco3. Musée Guimet

4. Cantor arts center at Stanford university5. Princessehof Museum of Ceramics in Leuwarden (Netherlands)6. Asian Art Museum, National Museums in Berlin7. 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）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

4）盆中清翫展期：2013/04/01~2013/06/25陳列室：212

5）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

6）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。

（附展品清單）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)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)

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

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. 韓國國立博物館1) Goryeo and Liao

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

歐美1. Freer Gallery of Art

1）Promise of Paradise: Early Chinese Buddhist SculptureOpens December 1, 2012

The 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. Cantor arts center at Stanford universityBorder 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.

5. 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

6. 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 Huang Yue Calligraphy in Style of Wang Xizhi

3 黃鉞 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

7. 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. 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 0XGJames 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.

2. Emperor Huizong: Daoist, Poet, Painter, CaptivePatricia Ebrey (University of Washington) Stanford University Palo Alto, CA 16 May 2013

Huizong came to the Song throne in the first month of 1100, a few months after his seventeenth birthday, and reigned almost twenty-six years, till the Jurchen invasion in late1125. Since his reign ended so badly, traditional historians have viewed Huizong’s many pursuits as his vices, not his virtues. His love of art was seen as self-indulgence, his faith in Daoism as self-delusion, his trust in Cai Jing as irresponsible. So long as one sets aside this moral framework, however, there are ample sources to look at Huizong and his reign afresh, to consider how he understood monarchy and its challenges, what he got from Daoism, how he made use of the resources of the throne, why he chose to ally with the Jurchen, and other related issues.

3. 中国王朝の至宝講座1）中国王朝　栄華を極めたのは誰だ日時：平成25年7月13日（土）13:30～14:30 会場：九州国立博物館1階ミュージアムホール 講師：谷豊信（九州国立博物館学芸部長） 2）中国王朝の至宝を10倍楽しく見る方法日時：平成25年7月20日（土）13:30～14:30 会場：九州国立博物館1階ミュージアムホール 講師：市元塁（九州国立博物館主任研究員）

4. 皇帝たちの中国-ファースト・エンペラーからラスト・エンペラーまで-日時：平成25年8月3日（土）13:30～15:00 会場： 九州国立博物館1階ミュージアムホール 講師： 稲畑耕一郎氏（早稲田大学教授）要事前申込（聴講無料）

研討會：

1. Chinese Object Study WorkshopsChinese 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 InstitutionWriting 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.www.asia.si.edu/research/workshops/chinese-object-study.asp

2. International Convention of Asia Scholars (ICAS8) Macao, China 24-27 June 2013 Panel 3: Individual Papers Panel: History, Identity, and Culture in Macao - Terry Rex Wilson (University of Macau), "The Temples of Nezha in Macao" Panel 9: The Politics of Arts: Propaganda, Ideological Production, and Culture in Modern Asia - Sam Zhiguang Yin (Zayed University), "'Ideological Battlefield': Propaganda and the Creation of the Political Utility of Literature in China 1923-29" - Tianqi Yu (independent scholar), "Producing the 'Public Self': Ai Weiwei and First Person Action Documentary Practice in China" Panel 12: Individual Papers Panel: Contemporary Asian art I - Sophia Suk-mun Law (Lingnan University), "A Reflection of Hong Kong Art - Realism in the 1950s and 1960s" - Paul Pak-hing (University of Tennessee), "The Discursive Space in Mistranslation: Cai Guo-Qiang and the 2010 Shanghai World Expo" - Hung Sheng (Lingnan University), "Irene Chou: A Case Study of Hong Kong Art" Panel 26: Roundtable: The Effects of UNESCO Politics on Local Notions of Heritage (1) Sponsored by International Institute of Asian Studies, the Netherlands Convenor: Sadiah Boonstra (International Institute for Asian Studies) Philippe Peycam (International Institute of Asian Studies) Michael Herzfeld (Harvard University) Noel Salazar (University of Leuven)

Aarti Kawlra (Nehru Memorial Museum & Library, Teenmurti House; Indian Institute of Technology Madras) Panel 36: Museums Re-affirming and Re-creating Identities: Recent Case Studies from across Asia - Jacqueline Armijo (Qatar University), "Cai Guo-qiang in Qatar: Re-imagining the Silk Road and Re-creating Historical Links between China and the Gulf" - Esther Klein (University of Illinois at Chicago), "Adopting Sanxingdui: A Museum's New Genealogy of Chinese Culture" Panel 53: Roundtable: The Effects of UNESCO Politics on Local Notions of Heritage (2) Sponsored by International Institute of Asian Studies, the Netherlands Convenor: Sadiah Boonstra (International Institute for Asian Studies) Philippe Peycam (International Institute of Asian Studies) Michael Herzfeld (Harvard University) Noel Salazar (University of Leuven) Aarti Kawlra (Nehru Memorial Museum & Library, Teenmurti House; Indian Institute of Technology Madras) Panel 63: Sacred Things inside Secular Museums: New Perspectives from Asia - Tai-Li Hu (Academia Sinica), "Ancestral Pillars in the Museum and 'Returning Souls'" Panel 70: Certified Copy? Stories of Originality, Design, and Bandits in Urban China Today Sponsored by China Research Centre, University of Technology, Sydney Convenor: Maurizio Marinelli (University of Technology, Sydney) Chair: Peter McNeil (University of Technology, Sydney) - Carolyn Cartier (University of Technology, Sydney), "Authenticity and the Neoliberal City: The Return of the Real" - Maurizio Marinelli, "Domesticating Foreignness in China: The Transnational Politics of the Copy and the Real" - Jeroen de Kloet (University of Amsterdam) and Yiu Fai Chow (Hong Kong Baptist University), "From Fake to Shanzhai: A Tour through Da Fen Art Village" Panel 93: Individual Papers Panel: Asian Iconography I - Gonzalo San Emeterio (Osaka University), "Representing Childhood: The Case of 18th and 19th Century Musha e-hon"

- Amaury A. Garcia (El Colegio de México), "The Dual Regime: Political Connotations of Edo Period Makura-e" - Nahoko Fukushima (Tokyo University of Agriculture), "The Botanic Culture in Edo and Its Reception of Chinese Aesthetics" - Ellen E. M. A. Van Goethem (Kyushu University), "Site Divination and the Creation of Cultural Memory" Panel 107: Roundtable: Asian artists as agents of societal change at home and abroad in the 21st century (1) Sponsored by International Institute of Asian Studies; Asian Cultural Council, New York Convenor: Stanford Makishi (Asian Cultural Council) Philippe Peycam (International Institute of Asian Studies) Sadiah Boonstra (International Institute for Asian Studies) Zoe Butt (University of New South Wales) Tran Luong (independent artist) Panel 114: The Great War" and East Asia: The Cultural and Technological Networks in the 1910s - Tze-ki Hon (State University of New York at Geneseo), "Printing Technology and the Transfer of Knowledge: The Cultural Nexus of Power in Early Twentieth-Century East Asia" Panel 117: Arts, Creativity, and the Politics of Urban Space in East Asia Convenor: Hideaki Sasajima (Osaka City University) Discussant: Motohiro Koizumi, Tottori University - Hideaki Sasajima, "Why Did Artist Colonies Exist In a Japanese City in the 1930s And 1940s? The Avant-Garde in Ikebukuro Montparnasse" - Lü Pan (University of Hong Kong SPACE Community College), "Who is Occupying Wall and Street? - Graffiti and Urban Spatial Politics in Contemporary China" - Ran Ma (Osaka City University), "Ballsy Experiments with Daily Life at Beijing Hutong: HomeShop and Its Politics of Public/Space" - Eunhwee Jeon (Osaka City University), "How Gentrified Music Protests against the Creative City" Panel 118: Taking Care of Business: Chinese Export Art and the Commodification of Culture Convenor: Paul A. Van Dyke (Sun Yat-sen University) Discussant: Yee Wan Koon (University of Hong Kong) - William Shang (Tama University), "Chinese Export Paintings and Perceptions: Eastern Understanding and Western Tastes"

- Yinghe Jiang (Sun Yat-sen University), "Cantonese Export Portraits of Hong Merchants" - Susan E. Schopp (University of Macau), "The French as Trend-Setters in Canton Architecture, as Depicted in Paintings of the Factories" - Maria Kar-wing Mok (Hong Kong Museum of Art) and Paul A. Van Dyke, "Dating the Canton Factories 1765-1822" Panel 125: Individual Papers Panel: Pop Culture - Katherine Marie Mezur (iindependent scholar; Freie Universitaet), "Cute (Kawaii) Exploded: Girl Worlds in Japan and Beyond" - Dagmar Borchard (independent researcher), "Wedding Photography in Urban China and Modernity Panel 132: Images of "Japan" in Contemporary East Asia - Edward Vickers (Kyushu University), "A Totem of Chineseness: Representations of Japan in the Museums of Mainland China, Taiwan, and Hong Kong" Panel 134: Roundtable: Asian artists as agents of societal change at home and abroad in the 21st century (2) Sponsored by International Institute of Asian Studies; Asian Cultural Council, New York Convenor: Stanford Makishi (Asian Cultural Council) Philippe Peycam (International Institute of Asian Studies) Sadiah Boonstra (International Institute for Asian Studies) Zoe Butt (University of New South Wales) Tran Luong (independent artist) Panel 138: Individual Papers Panel: Representing Macao - Weizi Huang (Macau University of Science and Technology), "Exploring Visitor Practices at Macao Museum of Art: A Case Study" - Lan Wang (Macau University of Science and Technology), "The Conflict and Merging between Eastern and Western Cultures from the Perspective of the Christian Art in Macau" Panel 139: The Development and Reorganization of East Asian Commercial Networks in the XVI Century - An Analysis of Kinship and Regional Bond Convenor: Mihoko Oka (University of Tokyo) Discussant: Francois Gipouloux (Ecole des Hautes Etudes en Sciences Sociales) - Toshio Kage (Niihama National College of Technology), "Nakaya Soetsu: A Trading Merchant in the Warring States Period in Bungo, Japan"

- Makoto Okamoto (University of Tokyo), "The Hibiya Family and the Japan-China Trade in the Mid-sixteenth Century" - Gakusho Nakajima (Kyushu University), "The Folangji Bring Folangji: Smuggling Trade and Transmission of Western Style Firearms in Maritime East Asia in the 1540s" - Takeshi Yamazaki (Kyoto University), "The Revival of Malacca?: Malacca and Folangji in Chinese Perspective" - Lucio De Sousa (University of Evora; Foundation for Science and Technology, Portugal), "Fom Slave Traders to Silk traders - The Jewish Experience in China in the Early Modern Period" Panel 163: Workshop: Chinese Descendants in East Asia under Japanese Colonialism 1910s - 1930s: Discourse Formation and its Post-war Imprints - Kuo-an Ma (Chinese University of Hong Kong) [to be confirmed], "Moving Images, Traveling Cities: Visualizing Transnational Flows in China, Japan and Taiwan, 1920s-1940s" Panel 171: Publishing, Forging, and Constructing Their Culture: Uses of Local Chinese Traditions of the Past in East Asian History - Desmond Cheung (University of Victoria), "The Sites of Hangzhou and the Making of the Ming Order" - Luke Hambleton (Beijing Normal University), "Cultivating Prima-Flora: The Tradition of Botanical Treaties Writing in Fujian and Its Impact" Panel 172: Voices from the Past II: Discourse, Imagination, Local Voices - Yi Jie Xie (Zhejiang University), "The Construction of Chinese Architectural Heritage Preservation" Panel 179: From Manufacturing to the New Luxury: Chinese Fashion at the Crossroads Convenors: Simona Segre Reinach (University of Bologna) and Wessie Ling (University of the Arts London) Chair: Wessie Ling - Wessie Ling and Simona Segre Reinach, "Multiple China: Cosmopolitanism and Identities in Chinese Fashion" - Juanjuan Wu (University of Minnesota), Yue Hu (Shanghai University of Engineering Science), Lei Xu (Shanghai Second Polytechnic University), and Marilyn R. Delong (University of Minnesota), "Chinese Fashion Designers' New Approach to Retail" - Maurizio Marinelli and Peter McNeil (University of Stockholm), "'New Concessions': Towards a Sensorial Economy of Luxury in Contemporary Chinese Housing"

- Xin Gu (Queensland University of Technology), "Creativity, Craft, and Manufacture - A Case Study of Independent Fashion in Shanghai" Panel 180: Individual Papers Panel: Chinese Feminities II - Man Man Huang (University of Macau), "Chinese Export Silk for the American Market in the 19th Century" Panel 197: Individual Papers Panel: Contemporary Asian art II - Minna Valjakka (University of Helsinki), "(Semi-)legal Manifestations of Urban Art in Chinese Cities" - Svetlana Kharchenkova (University of Amsterdam), "Art or Business: Commercialization of Contemporary Art Galleries in China" - Meiqin Wang (California State University at Northridge), "Invisible Body, Little Men, and the Predicaments of Existence in an Urbanizing China" Panel 198: Power and Identity in Chinese Architecture and Space Convenor: Shaoqian Zhang (Oklahoma State University) Discussant: Shaoqian Zhang - Yitao Xu (Peking University), "A Brief Discussion on Power in the Spatial Patterns of Traditional Chinese Architecture" - Lala Zuo (Swarthmore College), "An Interim between Political Authorities: The Regionalization of Yuan Timber Architecture" - Tian Gao (Tsinghua University), "Beijing Central Axis: The Symbol of the City" - Delin Lai (University of Louisville), "The Peking National Library: A Modern Construction of Knowledge, Cultural Identity, and Civil Space" - Alexandra Harper (Tsinghua University), "The China Hype in European Architecture" Panel 209: Architectural Heritage in Asia Sponsored by International Institute of Asian Studies; Delft School of Design - Gregory Bracken (Delft School of Design), "New Wine in Old Bottles: Shanghai's Architectural Heritage: Gentrification versus Adaptive Reuse" Panel 226: Re-evaluating the Uses of Visual Forms and Aesthetic Style within East Asian Buddhist Practice Convenor: Kathleen Ryor (Carleton College) Chair: Kathleen Ryor Discussant: Paul Copp (University of Chicago) - Tracy Miller (Vanderbilt University), "Perfecting the Sacred: Radial Symmetry in the Religious Architecture of Early Medieval China"

- Kathleen Ryor, "Style as Substance: Literati Buddhist Ink Painting and Devotional Practices in Late Ming Dynasty China"- Yan Yang (Yale University), "The Toji Landscape Screen: What's Remembered and Forgotten about Its Religious Function in the Modern Era" - Karil J. Kucera (St Olaf College), "Good Karma or Bad Kitsch? Visualizing the Afterlife at Kosanji" Panel 227: Exhibiting the Regional Identities of Southern China during the 20th and 21st Centuries Convenor: Yu-ping Luk (Lingnan University) Discussant: Shaoyang Lin (City University of Hong Kong) - Pui Pedith Chan (City University of Hong Kong), "Visual Representation of Regional Culture: The 1940 Exhibition of Guangdong Cultural Heritage" - Yu-ping Luk, "Guangdong Regional Identity and an Exhibition of Paintings in New York in 1947" - Vivian Wing Yan Ting (Hong Kong Baptist University), "Talkover/Handover: Visualising Cultural Identities in Post-colonial Hong Kong" Panel 253: Sex and Gender in Asian Art - Ikumi Kaminishi (Tufts University), "Lady Zenmyo's Piety in the Illustrated Legend of Kegon Sect" Panel 258: Individual Papers Panel: Yunnan, Minorities, and Education - Peng-hui Wang (National Taiwan University), "Revolution beyond Evolution: Dong Guan-zhi and his Pictorial Illustrations of Yunnanese Natives in Early Republican Period" Panel 261: Individual Papers Panel: Between Occidentalism and Orientalism - Thijs Weststeijn (University of Amsterdam; Royal Netherlands Institute in Rome), "The Netherlands in Late Imperial China: Images and Ideas" Panel 271: Embodying Masculinities and Physical Appearance in Everyday Spaces of Work, Home, Consumption, and Leisure across Asia IV - Kevin Lam (Northwestern University), "Masculinized in Oil: The Identity of the Female Artist in Self-Portraits in Republican China, 1911-1949" Panel 274: I Was Here: Mediating Experiences with Ink and Photography in Modern and Contemporary Japanese Visual Culture Convenor: Olivier Krischer (independent scholar; ArtAsiaPacific Magazine, Hong Kong)

Chair: Olivier Krischer - Rhiannon Paget (University of Sydney), "Ink and the Politics of Memory: Komuro Suiun's Travel Paintings of China and Korea" - Olivier Krischer, "Being 'Asian' in China: Images of Modern Japanese Scholars Traveling in China at the Turn of the Twentieth Century" - Fuyubi Nakamura (Tama Art University), "Traces of Time through the Brush and Lens: A Japanese Travel Diary from the 1930s" - Toby Slade (University of Tokyo), "You Are What You Eat: Food Photography, Image Consumption and Strategies of Self-Hood in Japan" Panel 275: Europeans in East Asia from the Mid-Nineteenth to the Mid-Twentieth Century: Elements for a Social History of Globalisation - Heejung Suh (Seoul Digital University), "How to Memorize Transnational Activities? Bruno Taut as an Architect in Berlin and Tokyo during the 1930s" Panel 298: The Map and Music of Matteo Ricci Sponsored by Institute for Advanced Study, University of Minnesota Convenor: Ann Waltner (University of Minnesota) Chair: Ann Waltner - Linda Pearse (Mt. Allison University) - Ann Waltner - Fang Qin (Capital Normal University) Panel 303: Ritual Transformations and the Nationalization of Religion: The Shifting Role of Shinto Ceremonies in Meiji Japan Convenor: Michael Wachutka (University of Tübingen) Discussant: Takashi Fujitani (University of Toronto) - Rosemarie Bernard (Waseda University), "Modernization of Ise's Shikinen Sengû (1869-1929)" - Yijiang Zhong (National University of Singapore), "Ritual Transformation at the Izumo Shrine" - Teruomi Yamaguchi (Kyushu University), "Rituals and Faith within the Imperial Family: The Establishment of Shinto Court Ceremonies and the 'Renaissance' of Buddhism" - Michael Wachutka, "New Rituals for a 'National' Education: The Replacement of the Confucian Sekiten with the Shintoist Gakushinsai"Panel 310: Individual Papers Panel: Asian Iconography II - Lai Pik Chan (Chinese University of Hong Kong), "Melting East and West: An Exceptional Jade Carving"

- Andreas Janousch (Universidad Autónoma de Madrid), "Textuality and Space: Steles, Inscriptions, and the Sense of Space in a 16th-Century Temple, Southern Shanxi" Panel 336: Individual Papers Panel: Asian Sounds - Ury Eppstein, (ebrew University of Jerusalem), "Music Instruments in Ukiyo-e" Panel 337: Ruins, Heritage, and Monumentality in China Convenor: Xavier Ortells-Nicolau (Universitat Autònoma de Barcelona) Discussant: Cathryn Clayton (University of Hawaii at Manoa) - Shuli Wang (University College London), "From Ruin to Heritage - Memories of Yin Ruin Archaeological Site" - Angela Becher (School of Oriental and African Studies), "From Debris to Spectacle - Postsocialist Monumental Architecture in Chinese Visual Culture" - Xavier Ortells-Nicolau, "Against the Ruin: Demolition Sites in Contemporary Chinese Artworks" Panel 339: Visualising East Asia: Diasporas and (Post)digital Dialogues - Patricia Eichenbaum Karetzky (Bard College), "Contemporary Art of Chinese Diaspora" - Elizabeth Parke (University of Toronto), "Cao Fei as Artist and Diasporic Cyborg" - Ming Turner (National Chiao-Tung University), "Between Human and Beast: Hybridisation and Transformation in Daniel Lee's Art"

3. 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.

4. Global goes Local: Visualizing Regional Cultures in the Arts of Greater ChinaHong 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

5. The Yuanmingyuan in Britain and France: Representations of the ‘Summer Palace’ in the WestJuly 8-9, 2013University of Manchester Confirmed speakers include James Hevia (Chicago), Greg Thomas (Hong Kong), Nick Pearce (Glasgow), Vincent Droguet (Château of Fontainebleau). For further details contact: louise.tythacott@manchester.ac.uk There is no charge for attendance but numbers are limited. To secure(附資訊海報)

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