藝術/文化/史ArtsInfo

03/09/2012 1. 感謝 Joyce Tsai、張華芝、盧慧紋、板倉聖哲、黃士珊所提供的資訊。部分訊息轉貼自 Nixi

Cura 維護之 Arts of China Consortium 網站。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、演講、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2. 國立臺灣美術館3. 國立傳統藝術中心■ 亞洲1. 澳門藝術博物館2. 中國故宮博物院3. 中國國家博物館4. 大和文華館5. 大阪美術館6. 東京國立博物館7. 愛知県陶磁資料館■ 歐美1. Freer Gallery of Art2. The Metropolitan Museum of Art3. Asian Art Museum, National Museums in Berlin4. Musée Guimet5. China Institute6. 6.Asian Art Museum of San Francisco

台灣1. 故宮博物院展覽：

http://www.npm.gov.tw/exhbition/object.htm1）「得佳趣－乾隆皇帝的陶瓷品味」特展

展期：2011 年 11 月 1 日 ~ 2012 年 9 月 30 日陳列室：203

2）妙奪化機－呂紀繪畫展 展期：2012/01/10 ~ 2012/03/25 陳列室：212

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

4）丁觀鵬摹顧愷之洛神圖

展期：2012/01/10 ~ 2012/03/25

陳列室：208

5）好古敏求—明杜堇玩古圖展 展期：2012/04/01 ~ 2012/06/25 陳列室：208杜菫，字懼南，號檉居、古狂、青霞亭長，丹徒（江蘇鎮江）人，約活動於明代中期 1465至 1509 年間。成化（1465-1487）初，應進士試不第，遂以文人及職業畫家的身份寓居北京，亦往來南京、江蘇等地，與當時著名的文人仕宦多有交遊。根據畫史著錄，杜堇兼擅人物、界畫、山水、花卉；現存畫蹟則以人物故事畫為主，除白描風格外，亦有繼承南宋院體風格設色精緻的工筆人物畫。他的畫作對明代中後期人物畫影響深遠，如唐寅（1470-1523）的人物畫風，便明顯受到杜堇的影響。 〈玩古圖〉為杜堇工筆人物畫的代表作，並反映了明代中晚期文人士大夫賞玩品鑑古書

畫器物的風尚。畫中描繪濱水庭園一角，兩名士人在碩大屏風前賞鑑長案上的鼎彝古物，前方女童持扇撲蝶，另有侍童攜來畫軸和圍棋盤，朝斜後方解開琴套、準備香具的仕女走去。畫中家具器用雅緻華麗，說明著主人的財富與品味，然此非杜堇意欲表現的重點。他在畫上五行雅秀的款題，賦予「玩古」更嚴肅的意義： 玩古乃常。博之志大。尚象制名。禮樂所在。日無禮樂。人反塊（愧）然。作之正之。吾有待焉檉居杜堇。柬冕徵玩古圖并題。予則似求形外。意托言表。觀者鑒之。

杜堇認為若發揮「博古」的精神，透過詳究古物的形制名稱，理解尋索古代禮樂制度，便可將看似逸樂的耳目之玩，提升成如同孔子所言「好古敏求」的積極作為。畫中長鬚文士蹙眉審視的專注情態，及其主要的品鑑對象並非一般琴棋書畫，而是上溯三代的古青銅器，展現了杜堇寓道於畫的特別設計。

6）宣德宸翰—明宣宗書畫展 展期：2012/04/01 ~ 2012/06/25

陳列室：202, 212 明宣宗（西元一三九九－一四三五），姓朱，名瞻基，自號長春真人。明成祖長孫，明代第五位皇帝，西元一四二六至一四三五年在位，年號宣德，廟號宣宗。在其當政的十年之間，政治方面，任用賢能，締造了史稱「仁宣之治」的穩定發展期，是著名的守成之君。此外明宣宗在藝術方面的表現，則使他在歷代帝王之中，顯得更加耀眼。 宣宗愛好翰墨，工於繪事，不但熱衷書畫創作，所作山水、人物、走獸、花鳥、草蟲均

得造化之妙，而且常以書畫作品賞賜近臣。此外，宣宗更引領一代藝術風潮，以恢復兩宋畫院的盛況為目標。根據記載，宮中畫師每呈作品，宣宗均會一一觀覽加以評論，使得明代宮廷繪畫於宣宗在位期間臻至鼎盛，足以與北宋徽宗（一 O八二─一一三五年）的宣和畫院相媲美。 宣宗的繪畫取材偏向花鳥、畜獸、墨竹，帶有象徵寓意的題材，而在風格上明顯受到

文人畫的影響，注重線條和墨韻的表現。書法則瀟灑勁健，被後人評為「書出沈華亭兄弟，而能於圓熟之外，以遒勁發之。」結字近於趙孟頫（一二五四－一三二二），反映出明初以來的風尚。本次展覽除院藏多件宣德皇帝肖像與其親筆書畫，並展出其繪畫風格淵源相關，以及後世臨仿宣宗畫風之作。

7）研經與書藝－清代經學家書法展 展期：2012/04/01 ~ 2012/06/25 陳列室：204, 206經學家泛指研究儒家經書成就可觀的學人，這些學人研究的主要目標，在於汲取經書

思想的精華，因應活用，期能有益於國計民生。經學的範疇雖然以儒家重要經典四書五經為主軸，在歷代學人相續耕耘拓展下，到了清代，治經的方法日臻嚴密，旁徵博引往往涉及其他相關學門，諸如史學、語言文字學、金石地理等，彼此相輔相成，形成一個紮實的研究體系。清代經學家沉潛其中，說解、考證經文，貫通義理，闡揚、批判兼而有之，讓人體認到學者熱衷於經世濟民的精神。 清代經學家研經有成，同時以翰墨見長者不乏其人，本次展覽就院藏部分選列十六位，

已然可見傳統書法煥發出新的光輝。清人上承宋元明書學傳統，根基深厚不待贅言，又適逢古文物陸續出土，有幸見前人所未見，允為書學真實可貴的素材。本著研究經學實事求是的一貫態度，經學家詮解篆古文字形音義，考知隸變的由來，運筆作書遂見學有本源，革除前人臆造褊狹的弊病。如此學養與書藝相互潤澤，經學家或許無意引領書壇，卻產生十足的動力，開啟清代篆隸書法新局面。 從審美的角度來看，經學家書藝取向儒家崇尚中和，筆端不激不厲，無意於情感過度

奔馳和釋放，學養積中，而後英華自現。誠如《孟子‧盡心篇》所言：「充實之謂美，充實而有光輝之謂大」，清代經學家書法沒有炫目的個性表現，作品內涵卻令人探索不盡。

8）水到渠成－院藏清代河工檔案輿圖特展 展　期：2012/02/18 ~ 2012/09/16 陳列室：104

傳統中國以農立國，農業經濟的穩定發展不僅是社會民生安定的基礎，更是王朝政權與財政收入的重要依據。因此，歷代政府無不投注大量人力、物資，整治河道與興修水利，

期以穩固農業生產與民生經濟，使國家得以長治久安。滿族入主中原，仍延續歷代王朝以農立國的經濟傳統。在汲取歷代治河的經驗中，清代政府不僅在控制河患發展出較成熟的知識，而在防災制度與工程技術上，也顯示出較前代有進一步的創新與發展。 河工，是政府整治河道等工程的總稱，舉凡建築水壩、開挖引河、加固堤堰、疏濬河道

等均屬之。其興築者有壩、堤、埽、閘、涵洞、坦坡、救生樁；其修護則三年一小修，五年一中修，十年一大修。每年亦有常例歲修，遇緊急險情更有搶修等規定。

國立故宮博物院所藏清代河工輿圖及其相關檔案數量相當豐富，內容除整治黃河、淮河、運河、疏濬洪澤湖、修築錢塘江等工程文字紀錄外，更包括地方官員為奏報治河過程所特別繪製的一幅幅精美工程圖樣。這在當年僅供皇帝御覽批閱的大內輿圖密檔，透過展覽將一一呈現眼前，使我們深入了解清代治河與興建水利工程的重要作為。

本展覽共分為「名川巨泊」、「治河對策」、「治河名臣」三個單元。第一單元以「地」為重心，展出藏院黃、淮、運三河道輿圖、清廷整治黃淮運交會處的洪澤湖流域圖、以及浙江省錢塘江圖等，藉以呈現清代時期著名河湖地貌形勢。第二單元以「事」為主軸，藉由清代數件治河事例，說明清代君臣面對河患時所提出的一系列決策與整治方案。第三單元則以「人」為主體，介紹有清一代重要的治河名臣，讓民眾領會他們在治河工程的貢獻，以及在提升治河技術的努力。

2. 國立臺灣美術館畫家風景．國民風景－百年台灣行旅

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

SN=3258&n=10043

3. 國立傳統藝術中心博古賞珍展期：2012 年 1 月 20 日至 2012 年 6 月 17 日陳列室：國立傳統藝術中心展示館http://www.ncfta.gov.tw/BoGu/index.html

亞洲1. 澳門藝術博物館玉貌清明－－故宮珍藏兩宋瓷器精品展展期： 2011 年 12 月 8 日至 2012 年 3 月 11 日是次展覽是中國陶瓷史上瓷藝高峰的一次縱覽，展出故宮博物院珍藏兩宋宮廷及民間瓷器精品共一百八十七件。觀眾可透過兩宋時期宮廷與民間的瓷器，細味千年前仍歷久彌新的沉靜端雅與豐富多姿。

2. 中國故宮博物院 1）故宮博物院藏定窯瓷器精品展

展期：2012.09.28-2013.07.31 陳列室：延禧宮古陶瓷研究中心展廳2）古書畫臨摹裝裱技藝傳承特展展期：2012.06.28-2012.12.12 陳列室：延禧宮古書畫研究中心展廳3） 明清扇面精品展 展期：2012.11.30-2013.02.28 陳列室：延禧宮古書畫研究中心展廳

3.中國國家博物館《小莽苍苍斋藏清代学者法书展》http://www.chnmuseum.cn/tabid/236/Default.aspx?ExhibitionLanguageID=193

4. 大和文華館

1）花の美術

展期：2012 年 2/25（土）～4/8（日）

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

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

花をモチーフとした華やかな作品が並びます。

2）明清の美術 -爛熟の中国文化

展期：2012 年 8/18（土）～9/30（日）

華やかな花鳥画や仕女図、西洋画法への興味が色濃く反映された宮廷絵画、筆墨の面

白さを追求した山水図など、１６世紀から１８世紀にかけての多彩な中国絵画を工芸

品と共に展示します。都市経済の発展を背景に、巨大な伝統を継承しつつ、新しさを

求めて前進していった、活気ある時代の空気を感じていただければ幸いです。

3）江戸後期の美術-都市文化の洗練

展期：2013 年 2/23（土）～3/31（日）江戸時代後期の絵画・工芸を展示します。西洋や中国から影響を受け展開した写実的

な作品、文人趣味溢れる作品、典雅で尚古的な作品など、多彩な江戸時代後期の文

化・美意識を反映した美術をお楽しみください。

4）花の美、石の美、庭園の美

展期：2013 年 2/23（土）～3/31（日）色彩豊かな花々や、造形の妙が美しい奇石は、書斎や庭園の装飾に欠かせない存在と

して、古くから東洋の文人たちに愛されてきました。文華苑の梅や桜のほころびはじ

める季節に、中国・日本・美術に表された花の美、石の美、そして庭園の美をお楽し

みください。

5. 大阪美術館

草原の王朝 契丹

展期：2012 年 4 月 10 日～6 月 10 日6. 東京国立博物館

中国王朝の至宝

展期：2012 年 10 月 10 日（水） ～ 2012 年 12 月 24 日（月）陳列室：平成館 特別展示室

13 億以上の人口を持ち、世界で 4 番目に広い国土を持つ中国。現在も 50 を越える

民族を抱えながら、巨大な国家として 6 千年ともいわれる歴史を現代につなげていま

す。黄河や長江といった大河の恵みのもとで高度な文明を発展させてきた中国では、

他国にはない独自の文化や思想が脈々と受け継がれてきました。そして、それは私た

ち日本人の精神的・文化的ルーツにもつながっています。

本展では、中国に誕生した歴代王朝の都ないし中心地域に焦点を当て、最新の発掘

の成果を踏まえながら、それぞれの地域の特色ある文物を通して新たな中国文明像を

ひもといていきます。文物のもつ魅力を紹介しながら、その背景にも視線を及ぼすこ

とにより、多元的に発展してきた中国文明のダイナミズムと広がりを展観します。

7. 愛知県陶磁資料館

日本人の愛した中国陶磁　龍泉窯青磁展

会期：平成 24 年 1月 21 日（土）から 3月 31 日（土）まで

会場：愛知県陶磁資料館　本館 第 1・第 2 展示室

中国浙江省の西南部に位置する龍泉窯（りゅうせんよう）で焼かれた青磁は、鎌倉時

代から室町時代にかけて莫大な量が日本に輸入されました。　

　中でも上質な製品は「砧（きぬた）青磁」「天龍寺（てんりゅうじ）青磁」の名で

愛され、今日でも数々の名品が伝世されて、国宝、重要文化財に指定されている作品

も少なくありません。

　 また、日本だけでなく、高麗、琉球（現在の沖縄）、東南アジア、南アジア、西アジ

ア、東アフリカなど広い地域に運ばれ、当時の最も上質なやきものとして世界中の

人々に受け入れられたのです。

　2006 年に龍泉窯の中で最も品質の高い青磁を生産したことで知られる大窯村地区

の楓洞岩（ふうどうがん）という地点で、明時代初期（14 世紀末～15 世紀初）に宮

廷用の青磁を焼いた窯が発掘されました。ここでは、それまで謎とされてきた明時

代の皇帝が使った龍泉窯青磁の生産の実像が明らかにされ、世界の考古学者、陶磁研

究者、愛好家の注目を集めたのです。

　本展覧会では、日本伝世の名品の数々と、龍泉・楓洞岩窯址の最新の出土品を併せ

て展覧し、龍泉窯青磁の美の世界とその発展史、日本とのかかわりなどについて探

ります。

歐美1. Freer Gallery of Art1）Shipwrecked: Tang Treasures and Monsoon Winds

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

2）Winged Spirits: Birds in Chinese Painting February 11–August 5, 2012In Chinese culture many birds are endowed with strong symbolic associations, both on their own and especially in combination with certain auspicious flowers. In the tenth century, birds and flowers emerged as major themes in traditional Chinese painting. At first such images were based on the close observation of nature and employed fine detail and

color; later they derived from the painting tradition itself and often were rendered in only ink. While the primary interest of many artists was to capture the essence or spirit of their subjects, most birds in the paintings can be scientifically identified. More than thirty-five species of birds are depicted in flight, on the ground or in water, or perched on tree branches.

2. The Metropolitan Museum of Art 1）Chinese Art in an Age of Revolution: Fu Baoshi (1904–1965) January 21 – April 15, 2012 Perhaps the greatest figure painter and landscapist of China's modern

period, Fu Baoshi successfully integrated Western and traditional artistic influences to create haunting images that evoke a mood as much as a place or person. This exhibition will treat Fu's forty-year career with some seventy paintings, including many of the artist's recognized masterpieces, drawn from the preeminent holdings of China's Nanjing Museum. The exhibition, augmented by superb works from a New York private collection, will be the most comprehensive treatment of the artist's oeuvre ever presented outside of Asia. Co-organized with the Cleveland Museum of Art, the exhibition will feature a richly illustrated catalogue.

2）The Printed Image in China, 8th–21st Century May 5 – July 29, 2012

China invented both paper and printing and this exhibition presents an outstanding survey of the art of Chinese printing from the time of its inception in the ninth century through its burgeoning as an artistic medium during the seventeenth century and its continued vitality as a medium for both popular culture and political commentary during the twentieth century. The exhibition will consist of approximately 136 prints drawn from the encyclopedic holdings of the British Museum.

3）Red and Black -Chinese Lacquer 13th–16th CenturySeptember 7, 2011 – June 10, 2012Galleries 220–222

Organized in celebration of three spectacular gifts to the Museum, this small exhibition explores techniques and themes in Chinese lacquer from the thirteenth to the sixteenth century, a high point in the development of this uniquely Asian artistic tradition. Some works illustrate the carved-lacquer technique, in which multiple layers of lacquer—as many as two hundred—are incised deeply with lush geometric or figural patterns, or scenes of figures in landscapes. Other objects demonstrate related

techniques whereby shallower incisions are inlaid with gold, pigment, or minute pieces of mother-of-pearl to create equally ornate surface decoration.

Lacquerware shares the rich visual language found in ceramics, textiles, and paintings, including figural scenes based on Chinese literature and history; mythical creatures such as dragons and phoenixes; birds and other animals; and flowers and plants. Most of these motifs are imbued with meanings, usually auspicious, derived from longstanding cultural traditions. For example, the peony alludes to spring and denotes wealth, while the chrysanthemum symbolizes autumn and longevity. Both flowers frequently are grouped with others, generally lotus and plum, to define the four seasons. Other motifs, such as the Asian flycatcher (shoudainiao), a bird seen often in early carved lacquers, can serve as rebuses emblematic of good wishes. In this instance, shoudainiao can be a proxy for the notion of enduring generations, for the first character of its name, shou, is a homonym for longevity; the second, dai, for generations.

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

2) Chrysanthemums and Bamboo. Symbolism, Legends, PolymorphismTue 25 October 2011 - Sun 25 March 2012Chrysanthemums and bamboo are two of the most popular motifs in Chinese painting, even today, and are imbued with rich symbolism. They are attributed with certain 'masculine' virtues, which the artist by inference ascribes to himself to reveal facets of his personality. Both plants especially lend themselves to demonstrating the painter's skill in handling the brush and ink.Today's exhibition presents 16 works, in which chrysanthemums or bamboo are combined with depictions of various animals, jagged ornamental rocks and autumnal motifs. In some pictures, chrysanthemums and bamboo also appear on their own, for instance 'dancing' in the rain. The images are imbued with their own symbolism, depending on how they are combined with other motifs, and often also refer to stories from long ago. The manner in which they are executed is just as diverse as the motifs themselves. In style, they range from traditional monochrome paintings up to depictions in vibrant colours that border on the abstract. This range of styles lends the works their tender lyricism or gives them their lively, expressive force. The exhibition presents the diverse range of forms evident in the motifs of chrysanthemums and bamboo, in the process highlighting the fresh creative impulses with which artists of the 20th century have infused traditional Chinese painting.3) China und Preußen.Porzellan und TeeFri 1 June - Mon 31 December 2012Unter dem Stichwort "Chinesisches Porzellan" werden Teile des um 1755 als Geschenk für Friedrich II. in Jingdezhen gefertigten und mit dem Großen Preußischen Staatswappen verzierten Services gezeigt, das die Stadt Emden mit einem der Schiffe der preußischen Handelskompanie erreichte. Als Kontrapunkt steht dem das "Teehaus" des zeitgenössischen Künstlers Ai Weiwei gegenüber.Mit dieser Präsentation im 'Thronsaal' des Museums wird auf zwei zentrale Errungenschaften des Fernen Ostens verwiesen, die unter Friedrich II. eine Brücke nach Ostasien schlugen: Porzellan und Tee. Die Ausstellung wirft ein Schlaglicht auf ein frühes Kapitel global ausgerichteter preußischer Handelsgeschichte und damit verbundenen kunsthistorischen Implikationen.Die Ausstellung findet im Rahmen einer Reihe von Veranstaltungen der Stiftung Preußischer Kulturbesitz aus Anlass des 300.

Geburtstags Friedrichs des Großen am 24. Januar 2012 unter dem Motto "Kunst - König - Aufklärung" statt.4) Auf Grünwedels Spuren.Restaurierungsforschung an zentralasiatischen Wandmalereien im Rahmen des KUR-Programms Sat 10 December 2011 - Sun 29 April 2012Die Staatlichen Museen zu Berlin besitzen die weltweit bedeutendste Sammlung zentralasiatischer Kunstschätze. Diese sind insbesondere dem Forschergeist des Indologen Albert Grünwedel (1876 bis 1935) zu verdanken. Grünwedel war Expeditionsleiter der ersten Turfan-Expedition 1902 und Direktor der Indischen Abteilung am Museum für Völkerkunde in Berlin.Die von Albert Grünwedel publizierten kunstwissenschaftlichen und archäologischen Ergebnisse seiner Forschungen zu den entdeckten und teilweise nach Berlin verbrachten Wandmalereien, Lehmskulpturen, Stein- und Holzobjekten, Textilien, Metallfunden und Handschriften machten in Deutschland und darüber hinaus in ganz Europa, die buddhistische Hochkultur Zentralasiens bekannt. Die Ausstellung erklärt einerseits die 100-jährige Museums- und Expeditionsgeschichte der wertvollen buddhistischen Wandgemälde und andererseits die neu erarbeiteten wegweisenden Erhaltungsstrategien für diese Sammlung.

4. Musée GuimetEnfants de Chine Petits tigres et jeunes dragons Du 17 décembre 2011 au 14 mai 2012, le musée des Arts asiatiques accueille cette nouvelle exposition Enfants de Chine, petits tigres et jeunes dragons, qui dans une approche multiple, à la fois sociale, ethnologique, religieuse et esthétique de l’enfance chinoise, et à travers costumes et objets de la vie quotidienne ou de la vie de cour, nous plonge dans l’exploration de deux mondes opposés : celui des classes populaires et celui des élites.

5. China InstituteTheater, Life, and the Afterlife: Tomb Décor of the Jin Dynasty from Shanxi February 9 - June 17, 2012 Brick carving is a traditional folk art that was used to decorate architecture and adorn tombs. Excavations in recent decades have uncovered unique and theatrically-themed brick carvings from the Shanxi province, revealing a passion for theater and opera in this region during the Jin dynasty (1115-

1234). The tombs of Shanxi, adorned with beautiful, intricate brick carvings and other décor, illustrate two kinds of popular entertainment: Za Ju, formal performances of written plays and San Qu, performances related to village festivals. An entirely reconstructed tomb will offer visitors a window into the ways ancient art patrons transferred the artistic joys of life into the afterlife. Theater, Life, and the Afterlife: Tomb Décor of the Jin Dynasty from Shanxi, brings to life the intersection of the brick carving and theater traditions.Admission and Hours:Monday - Sunday: 10 AM - 5 PMTuesday & Thursday: 10 AM - 8 PMFREE members and children under 12 onlyFREE Tuesdays & Thursdays: 6-8 PM$7 adults/ $4 students and seniors

6.Asian Art Museum of San FranciscoOut of Character: Decoding Chinese CalligraphyOctober 5, 2012–January 13, 2013What defines a masterwork? This exhibition, focusing on fifteen masterpieces supported by twenty-five additional works of the highest quality, explores the roles of tradition, creativity and self-expression in the art of Chinese calligraphy. Through the centuries, a complex set of rules and traditions evolved impacting every aspect of the calligrapher’s practice. Within these constraints, creativity and self-expression have remained the goals of the Chinese calligrapher. Global artistic phenomenon Xu Bing has proposed a new multi-media piece especially for the exhibition. Out of Character also includes paintings--borrowed from the collection of SFMOMA--by modern American masters Brice Marden, Franz Kline, and Mark Tobey, whose works have been linked with calligraphy.

演講：1. Preparation for the Afterlife: Tomb Treasures of Han China

James Lin (Fitzwilliam Museum, University of Cambridge) Oriental Ceramic Society London, UK 10 April 2012 The Han period (206 BC-AD220) is noted for the lavishness of its burials. However, Chinese texts hardly mention how the imperial household

prepared for the funeral of the emperor or imperial family members. Judging from the large scale of the tomb structures and the rich funeral objects in a diverse range of materials, the preparation for a king's funeral must have been well organized. Like the Egyptian pyramids, the construction of Han imperial tombs and the preparation of burial items were under strict and complicated supervision. The emperors' tombs in Xi'an cannot be opened for conservation reasons, so we do not know what they look like. However, judging from the imperial members' tombs that have been excavated in eastern China, and the 82 tomb passages that have been discovered in Yangling, Xi'an, which belonged to emperor Jingdi (r.188-141 BC), we can assume that an emperor's tomb would have been similar to those of the kings in eastern China, but larger in scale. This talk aims to reconstruct the Han imperial funeral process by putting all of the pieces of the jigsaw together from the surviving texts and the archaeological evidence. James C. S. Lin is the Senior Assistant Keeper of Applied Art at the Fitzwilliam Museum, Cambridge, with responsibility for the Asian art collection. James obtained a Masters degree and Ph.D. in Chinese Art History at the University of Oxford. He worked as a Research Assistant at the Ashmolean Museum between 2000-2002. He was employed as a Special Assistant at the British Museum, helping to set up the Selwyn and Ellie Alleyne Gallery of Chinese Jade between June-November 2002. Afterwards he returned to Oxford as the first Christensen Fellow in Chinese Painting, at the Khoan and Michael Sullivan Chinese painting gallery at the Ashmolean Museum. In September 2004 he was appointed as the Assistant Keeper of Applied Arts at the Fitzwilliam Museum.

2. Decoding Messages in Chinese Animal PaintingHou-Mei Sung (Cincinnati Museum of Art) Norton Museum of Art West Palm Beach, FL 15 April 2012

3. Tang Center Lecture Series Claudia Brown (University of Arizona) Princeton University Princeton, NJ 16-19 April 2012

16 April Lecture 1. "Proceeding Down the Grand Canal: The Qing Emperors' Maps and Topographical Paintings" Traditional Chinese panoramic maps remained a standard administrative tool to the end of Imperial rule. However, the Kangxi Emperor (r. 1662-1722) recognized the strategic utility of Western cartography and employed Europeans to survey and map the empire. His successors, Yongzheng (r. 1723-1735) and Qianlong (r. 1736-1795), carried on the practice. During the same period, court artists studied and re-created masterworks in the topographical genre from the Song dynasty (960-1279). The legacy of these traditional paintings could be both useful and poetic, and it informed the well known series of Southern Inspection Tour scrolls commissioned first by Kangxi and later by Qianlong. In panoramas that foreshadow Google Street View, Qing painters recorded a wealth of information while maintaining a link to the classical aesthetic. 17 April Lecture 2. "The Emperor Commissions an Inventory: The State of the Field of Qing Painting Studies" In 1744 court officials began the evaluation and cataloguing of the vast palace collection of scrolls and albums, old and new. Their work set the starting point for the study of painting of the Qing dynasty (1644-1911). Meanwhile, an eager audience in Europe and North America, already keen on Chinoiserie, developed interest in "export pictures" which combined elements of the traditions of China and the West. Although modern art historians were slow to take up the study of Qing painting, the formation of the Palace Museum and the first publications of its collections in the 1930s spurred a general interest that has resurfaced in the last two decades. The challenge remains to sort out the relationship of court painting to private commissions and of scholar-amateur work to that associated with a modern, commercial art market. 19 AprilLecture 3. "Scholar Zhang Peeks at Yingying: How Printed Books Inspired Painters of the Qing Dynasty" Publishing flourished in the late Ming period and then again shortly after the Qing conquest in 1644, despite the destruction of important publishing houses in several cities during the turmoil of the fall of Ming. The sophisticated simplicity of traditional Chinese printing techniques – with no presses needed – made small-scale publishing workable and trade in books

expanded. Books were exported to Japan on ships with other cargoes. Old books were collected with enthusiasm. The Qianlong emperor's great literary compilation, the Siku Quanshu (Complete Library of the Four Treasuries), now a scholarly resource available and searchable online, was made possible by the cooperation of private book collectors. Books were also available on a popular level and were sold from floating vessels on the Southern waterways. The popularity of printed books continued to the end of the Qing dynasty, despite the destruction of many printing houses during the Taiping Rebellion. A rapid transition to lithography began in the late 1870s. Throughout the period, painting manuals and illustrated literary works circulated widely, inspiring new trends in painting.

4. Chinese Imperial Porcelains—Retrospection and InnovationRegina Krahl Art Institute of Chicago 17 May 2012 Regina Krahl, independent scholar, reviews 600 years of stunning wares from imperial workshops in China's "porcelain city," Jingdezhen, where innovation was inspired by the past.

5. All Receding Together, One Hundred Slanting Lines—Replication and Variation in

Chinese Paintings of ArchitectureJerome Silbergeld (Princeton University) Art Institute of Chicago 26 April 2012 Jerome Silbergeld, Princeton University, probes the discipline of architectural details in Chinese painting, seeking relationships between the strict two-dimensional images and their real world counterparts to ferret out possible political and social references.

研討會：1. Association for Asian Studies Annual Conference

Toronto, ON Canada 15-18 March 2012

7. Writings on Modern Design Histories for the Global World: Issues and Perspectives from Modern Design Histories in East Asia (Yuko Kikuchi,

University of the Arts London) 13. individual Papers: Cultural Images & National Symbols 18. Visual/Textual Appropriation and Trans-Creation in Early Modern

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Spatial and Temporal Contexts (Anne Gerritsen, University of Warwick)

149. (Re)framing "Asia": Literary and Visual Images of "Asia" Produced in Modern East Asia and the West (Jooyeon Rhee, York University, Canada) 163. Memory, Narrative, Community: Reinventing the Past in Tibetan Art

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

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

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

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

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

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

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

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

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

Concordia University) 295. Flesh for Fantasy: Performing the Chinese Past in the Age of Digital

Photography (Yuhang Li, Yale University) 298. Seeing Double? Paired Imagery in Buddhist Art in China (Michelle C.

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

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

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

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

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

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

2. A Material World: The Art and Culture of Global Connections (Salem, 22 Mar 2012)Peabody Essex Museum; Salem, MA, March 22, 2012Registration deadline: Mar 15, 2012Thursday, March 22, 20129:30AM - 6:30PM, Peabody Essex Museumwww.pem.org/materialworldThe Peabody Essex Museum in Salem, Massachusettes invites you to join us for a dynamic symposium that explores how the global movement of objects—luxury goods, traded commodities and diplomatic gifts—created an increasingly interconnected world from the 1500s to the 1800s. How did these works shape people's ideas about the wider world? What can these works continue to tell us about early global networks? Nine international speakers focus on different cross-cultural connections in this daylong program highlighting works of art from PEM's collection.Reservations by March 15.Registration includes lectures, lunch, coffee breaks and cocktail receptionMembers $85, nonmembers $95, students with ID $20.Speakers:Chinese Export Silk and Porcelain in Colonial Mexico Donna Pierce | Denver Art MuseumMexican featherwork fan for the Spanish market, early 1600sDaniel Finamore | Peabody Essex MuseumForeign Luxuries at the Mughal CourtSusan Stronge | Victoria and Albert Museum, LondonPortrait of two English boys in Asian clothing by Tilly Kettle, 1780sGiorgio Riello | Warwick University, EnglandLuso-African Ivories: A New ProvenanceJean Michel Massing | University of Cambridge, EnglandChinese export lacquer and enamel furniture, 1730sKarina Corrigan | Peabody Essex Museum Linnaeus and the Origin of Japanese NumismaticsTimon Screech | School for Oriental and African Studies, LondonAlaskan overcoat owned by the King of the Hawaiian Islands, given to PEM before 1821 Christina Hellmich | Fine Arts Museums of San Francisco Things in Global Context: Mr Nobody Comes Home Anne Gerritsen | Warwick University, England

This daylong program concludes with a cocktail reception. RELATED LECTURE:"Vermeer's Hat: The Seventeenth Century and the Dawn of the GlobalWorld" by Timothy BrookWednesday, March 217-8 pm, Morse AuditoriumReservations by March 20Members and A Material World symposium registrants $7, nonmembers $10For more information about the symposium and Brook lecture, and for information on how to register, please visit: www.pem.org/materialworld.

3. 龍泉窯青磁の謎を探る

講師：浙江省文物考古研究所　研究員　沈岳明（しんがくめい） 氏北京大学

教授：秦大樹（しんたいじゅ）氏

龍泉青瓷博物館　館長　呉秋華（ごしゅうか）氏

杭州歴史博物館　副館長　唐俊傑（とうしゅんけつ）氏　ほか

日時：平成 24 年 3月 24 日（土）13：30～16：00－3月 25 日（日）10：00～16：00

その他の行事など、詳細については添付した開催要項(Word)や

愛知県陶磁資料館公式サイト http://www.pref.aichi.jp/touji/ をご参照ください。

4. Qing Encounters: Artistic Exchanges between China and the West

Peking University

Beijing, China

10-13 October 2012

Proposals are called for papers to be presented at a bilingual (Chinese-English, with

simultaneous translation) symposium called "Qing Encounters: Artistic Exchanges between

China and the West," to be held on the campus of Peking University, October 10-13, 2012.

The goal of the symposium is to highlight new ways of looking at the artistic contacts and

mutual interactions between China and the West during the Qing dynasty (1644-1911). By

gathering scholars from around the world, it aims at bringing together different art histories as

well as diverse methods of analyzing the artistic products of intercultural exchange. The

symposium covers all forms of art, architecture, and decorative art. Special preference will be

given to young scholars bringing a fresh methodological perspective to the subject.

Held under the auspices of the J. Paul Getty Foundation, in the context of its initiative of

"Connecting Art Histories," the symposium is co-sponsored by Peking University and Seton Hall

University. Its steering committee is comprised of Ding Ning, Peking University; Petra Chu,

Seton Hall University; Greg Thomas, The University of Hong Kong, and Chiu Che Bing, Paris.

Advisor: Thomas Gaehtgens, Getty Research Institute.

Those interested in presenting a paper at the symposium should send a one-page (double-spaced)

proposal accompanied by a one-page resume (in one document) as an e-mail attachment to Petra

Chu. Both proposal and resume need to be in English (though completed papers may be

delivered in Chinese). Proposal deadline: April 5, 2012.

Selected participants will be notified by May 5, 2012. Final papers are due August 1, 2012.

Travel to Beijing and lodging for all speakers will be paid by a generous grant from the Getty

Foundation.

For more information, please e-mail Petra Chu or Ding Ning.

(Dr.) Petra ten-Doesschate Chu

Professor of Art History and Museum Studies/Director MA Program Museum Professions

Seton Hall University

Managing Editor Nineteenth-Century Art Worldwide

Art Center

Seton Hall University

South Orange, NJ 07079

tel (973) 761-9460

講座：1. Discussion with Craig Clunas: Approaches to Visual and Material Cultures

Tuesday, March 27, 20122:00-6:00 pm, Lecture Hall

Institute for the Study of the Ancient World, New York University15 East 84th Street, New YorkCraig ClunasProfessor of Chinese Art, Oxford University2012 speaker of the A. W. Mellon Lectures in the Fine Arts, National Gallery of Art, Washington D.C.Discussants & moderators:Anne Dunlop (Tulane University)Jonathan Hay (New York University)Maxwell Hearn (Metropolitan Museum)Dorothy Ko (Barnard College)Karen Lang (University of Warwick)Susan Naquin (Princeton University)Lillian Tseng (New York University)Joanna Waley-Cohen (New York University)The event is free and open to the public.Seating is limited, RSVP required: isaw@nyu.edu.

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

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

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

網頁1. Index to Ming Dynasty Chinese Paintings http://ted.lib.harvard.edu/ted/deliver/home?_collection=ming The Ming dynasty Chinese painters and paintings index is a searchable

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

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

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