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ArtsInfo
2/ 26/2016
1. ュ オ び オ Susan Huang —
Nixi Cura Arts of China Consortium
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1. Royal Ontario Museum
2.! National Library of Australia
3.! The Metropolitan Museum of Art
4.! Nelson-Atkins Museum of Art
5.! Newark Museum
6.! Cleveland Museum of Art
7.! Getty Center
8.! Museum of Fine Arts, Boston (MFA)
9.! Seattle Art Museum
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04005847
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1. Royal Ontario Museum
Made in China: Cultural Encounters through Export Art
Closing August 2016.
This exhibition explores the lasting impact of cultural encounters between Europe and China on
an important artistic tradition. While art is often inspired by the surrounding culture and politics,
Chinese export art was also influenced by its target audience.
Chinese artists and artisans responded to the growing demand for Chinese export art in Europe
during the 18th century by appealing strategically to western taste, and adopting European painting
techniques and styles. At the same time, the romanticized view of China portrayed in export art
only left Europeans craving more from this imagined and idealized region.
With artifacts from the ROM’s unique Chinese, European, and Natural History collections,
including impressive works on pith, leaves, paper, and porcelain, this exhibition places the globally
recognized trademark “Made in China” into historical context.
https://www.rom.on.ca/en/exhibitions-galleries/exhibitions/made-in-china-cultural-encounters-th
rough
2. National Library of Australia, Exhibition Gallery, Ground floor
Celestial Empire: Life in China 1644-1911
2016 1 2 —5 22 10.00am-5.00pm
ぐ キ 1644-1911
ろ へ イ メ び
ゅ へ へ
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88 ふ .ぐ 80 ゅ
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http://www.nla.gov.au/
http://mp.weixin.qq.com/s?__biz=MzA5NDU4NjkwMQ%3D%3D&mid=401065091&idx=1
&sn=1ab6503acec2cd7628b9c235816e323b&scene=2&srcid=12286CBpu4oKNHqQ3n6kYnYI
&from=timeline&isappinstalled=0#wechat_redirect
3. The Metropolitan Museum of Art
1 A Passion for Jade The Heber Bishop Collection
March 14, 2015–June 19, 2016
http://www.metmuseum.org/exhibitions/listings/2015/passion-for-jade
Heber R. Bishop's collection of carved jades was formed in the last quarter of the nineteenth
century and bequeathed to the Metropolitan Museum in 1902. Consisting of over one thousand
pieces—primarily Chinese jades of the eighteenth and nineteenth centuries, as well as jades from
Mughal India—it was the first major collection of its kind in the country. This exhibition features a
selection of the finest examples from this renowned collection and celebrates the hundredth
anniversary of the Department of Asian Art.
2 Chinese Textiles Eight Centuries of Masterpieces from the Met Collection
September 12, 2015–June 19, 2016
http://www.metmuseum.org/exhibitions/listings/2015/chinese-textiles
This installation, which explores the cultural importance of silk in China, will showcase the most
important and unusual textiles from the Museum's collection. In addition to three rare pieces dating
from the Tang dynasty (618–906), when China served as a cultural hub linking Korea and Japan to
Central and West Asia, and, ultimately to the Mediterranean world, the exhibition also includes
eleventh- and twelfth-century tapestries from Central Asia, as well as contemporaneous Chinese
examples of this technique.
Spectacular embroideries—including an imperial fourteenth-century canopy decorated with
phoenixes and flowers, and a monumental late seventeenth- or early eighteenth-century panel
showing phoenixes in a garden—will also be on view, together with theatrical garments, court
costumes, and early examples of badges worn at court to designate rank.
3 Chinese Lacquer Treasures from the Irving Collection, 12th–18th Century
September 12, 2015–June 19, 2016
http://www.metmuseum.org/exhibitions/listings/2015/chinese-lacquer
Lacquer, the resin of a family of trees found throughout southern China—as well as in Southeast
Asia, Korea, and Japan—is an amazing material. When exposed to oxygen and humidity, lacquer
hardens or polymerizes, becoming a natural plastic and an ideal protective covering for screens,
trays, and other implements. Mixed with pigments, particularly cinnabar (red) and carbon (black),
lacquer has been also used as an artistic media for millennia.
This installation, which features all of the most important examples of Chinese lacquer in the
Museum's collection, explores the laborious techniques used to create scenes based on history and
literature, images of popular gods and mythical and real animals, and representations of landscapes
and flowers and birds.
4 Masterpieces of Chinese Painting from the Metropolitan Collection
October 31, 2015–October 11, 2016
http://www.metmuseum.org/exhibitions/listings/2015/masterpieces-of-chinese-painting
http://mp.weixin.qq.com/s?__biz=MzA3MTUxMzEzNw%3D%3D&mid=217305488&idx=1
&sn=275e62d512416c4ec9ae7e534ce0f4b3&scene=0#rd
This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a
chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368)
dynasties.
( )
4. Nelson-Atkins Museum of Art
Flowers to Frost: Four Seasons in East Asian Art
July 18, 2015–July 17, 2016
http://www.nelson-atkins.org/art/exhibitions/flowers-to-frost.cfm
5. Newark Museum
1 China's China Porcelain, Earthenware, Stoneware & Glazes
Now on View
http://www.newarkmuseum.org/china.html
Over 2,000 years of ceramic excellence are showcased with meaningful selections to feature a range
of different techniques through both figural and practical forms. Dating from seven different
dynastic periods—stretching from the second century BC to contemporary works—this
installation provides a profound rationale for why the name of the country became a synonym for
the ceramic arts while demonstrating an abridged introduction of some of the most significant and
celebrated ceramic types in Chinese history.
2 Red Luster Lacquer & Leatherworks of Asia
Ongoing
http://www.newarkmuseum.org/red-luster
For the past two thousand years—far before the development of plastic laminations and
modern-day adhesives—lacquer was (and remains) a superior material. Red Luster: Lacquer and
Leatherworks of Asia demonstrates the aesthetic impact of red lacquer and its faux imitators in
leatherworks and other materials. The glossy sheen, slick texture and deep colors of lacquer have
long been a prized material throughout Asia but the materials to create “true lacquers” do not exist
in all of Asia.
Different raw materials originating from different types of trees and even insects distinguish East
Asian lacquers (China, Japan and Korea) from those of Central and South Asia (Turkey, Iran, India
and Tibet) or Southeast Asia (Myanmar). The relatively slow construction process, coupled with
regionally restricted supplies of raw material, made production relatively exclusive. Thus all of Asia
also developed imitation or faux lacquers created by an even greater variety of materials and
techniques. Many faux lacquers became important forms of art in their own right. This is the first
lacquer exhibition to span the vastly different cultural and historical legacies of Asia from the Near
to Far East.
6. Cleveland Museum of Art
Silent Poetry: Masterpieces of Chinese Painting
11/14/2015-04/24/2016
http://www.clevelandart.org/events/exhibitions/silent-poetry-masterworks-chinese-painting
7. Getty Center
Cave Temples of Dunhuang: Buddhist Art on China's Silk Road
May 7–September 4, 2016, GETTY CENTER
The Mogao caves, located near the town of Dunhuang in the Gobi Desert of northwest China,
comprise some 500 decorated Buddhist cave temples dating from the 4th to the 14th century. Filled
with exquisite wall paintings and sculptures, the caves bear witness to the intense religious, artistic,
and cultural exchanges along the Silk Road, the trade routes linking East and West. Cave Temples of
Dunhuang: Buddhist Art on China's Silk Road features numerous objects originally from the site—such
as paintings and manuscripts that have rarely, if ever, traveled to the United States, as well as three
spectacular full-size cave replicas. The exhibition celebrates more than 25 years of collaboration
between the Getty Conservation Institute and the Dunhuang Academy to preserve this UNESCO
World Heritage Site.
8. Museum of Fine Arts, Boston (MFA)
a new display of art from the prosperous and vibrant Song dynasty (960-1279)
02/06/2016
Beyond this new display, visitors can explore six additional galleries dedicated to Chinese art at the
MFA, highlighting sculpture, ceramics and Bronze Age art, as well as Chinese furnishings, scholarly
objects and Buddhist art. Beyond the Screen evokes an elegant courtyard household from the late Ming
period, highlighting Chinese furniture of the 16th and 17th centuries.
http://www.mfa.org/news/song-gallery
9. Seattle Art Museum
JOURNEY TO DUNHUANG: BUDDHIST ART OF THE SILK ROAD CAVES
MAR 5 – JUN 12 2016
ASIAN ART MUSEUM
FOSTER GALLERIES
Located at China’s western frontier, the ancient city of Dunhuang lays at the convergence of the
northern and southern routes of the Silk Road—at a crossroads of the civilizations of East Asia,
Central Asia, and the Western world. From the late fourth century and until the decline of the Silk
Road in the fourteenth century, Dunhuang was a bustling desert oasis—a center of trade and
pilgrimage, and a gateway for new forms of art, culture, and religions.
This exhibition brings us the wonders of Dunhuang’s caves seen through the eyes of James and
Lucy Lo featuring a comprehensive selection of their photographs, manuscripts, and artist renditions.
In 1943, during World War II, photojournalist James C. M. Lo (1902–1987) and his wife, Lucy, a
photographer, arrived at Dunhuang by horse and donkey-drawn cart. Their ambitious 18-month
project produced over 2500 black and white images that record the caves as they were in the
mid-20th century, capturing many views of the interiors and exteriors that no longer exist today.
They also collected fragments of ancient texts and drawings–now the largest collection of Dunhuang
manuscripts in the U.S.
After moving to Taiwan in the 1950s, the couple invited a group of young artists to produce life-size
copies of their cave mural photographs, and coloring was added to the renderings.
These remarkable works on view are testament to James and Lucy Lo’s mission to preserve and
transmit the visual splendors of this ancient site.
The exhibition is organized in cooperation with the Princeton University Art Museum and the P.Y.
and Kinmay W. Tang Center for East Asian Art.
http://www.seattleartmuseum.org/Exhibitions/Details?EventId=42562
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2016 7 16-19
2016 7 20
2016 7 21-22
2016 7 23-24 セ . )
2016 7 25
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Professor Jinhua Chen (Department of Asian Studies, University of British Columbia,
Canada ): International Characteristics of Buddhism: East Asian
Perspectives ;
Professor James Robson (Department of East Asian Languages and Civilizations,
Harvard University ): “Sacred Geography” in East Asia “デ
べ ”;
Professor Barend ter Haar よ〜 (Faculty of Oriental Studies, University of Oxford で
): Enlisting the Divine Realm: Witches, Mediums, Shamans and Buddhist Critique デ
. .
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2016 7 21-22 リ (
http://blogs.ubc.ca/dewei/call-for-papers-the-second-international-conference-on-the-wutai-cult/)
2016 7 19 リ
. Studies in Chinese
Religions (ッ てッRoutledge )
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2016 Summer Program: Buddhism and East Asian Cultures
Buddhism and East Asian Cultures:
An Intensive Program of Lectures Series, Conference/Forum, and Fieldwork
July 15-25, 2016, Mount Wutai & Datong , China
The Wutai International Institute of Buddhism and East Asian Cultures (WII), Institute for Ethics and
Religions Studies (IERS) at Tsinghua University, Buddhist Studies Forum at Fudan University (FU-BSF),
and the Buddhist Studies Forum at the University of British Columbia (UBC-BSF) in Vancouver,
Canada cordially invite applications for a 10-day program of lecture series, conference/forum, and
fieldwork on Buddhism and East Asian Cultures (July 15-25, 2016) at Great Sage Monastery of Bamboo
Grove (Dasheng Zhulin si リ ), Mount Wutai , and Datong, Shanxi, China.
I. Venue Great Sage Monastery of Bamboo Grove (Dasheng Zhulin si リ ), Mount Wutai
, Shanxi, China
II. Schedule——July 15-25, 2016
July 15, 2016 Registration
July 16-19, 2016 Main Programs (lectures and Students’ Forum)
July 20, 2016 Tour on Mount Wutai
July 21-22, 2016: Wutai Cult Conference;
July 23-24, 2016: Tour in Datong;
July 25, 2016 Home-going
III. Four-part Lecture Series: The program organizers have invited three international scholars to
conduct, all bilingually (English and Chinese), a three-part lecture series related to Buddhism and East
Asian Culture, with each part composed of three consecutive 120-minute lectures with a general theme
(over three days). These three bilingual speakers and their lecture themes are:
Professor Jinhua Chen (Department of Asian Studies, University of British Columbia, Canada):
International Characteristics of Buddhism: East Asian Perspectives ;
Professor James Robson (Department of East Asian Languages and Civilization, Harvard University):
“Sacred Geography” in East Asia “デ べ ”;
Professor Barend ter Haar (Faculty of Oriental Studies, University of Oxford): Enlisting the Divine
Realm: Witches, Mediums, Shamans and Buddhist Critique デ .
.
This three-part lecture series will be accompanied by five lectures delivered by five China-based scholars
on Buddhism and East Asian cultures.
IV. Four Additional Projects: In addition to this four-part intensive lecture series, this program also
sponsors the following four projects:
An international conference on the Wutai-Mañjuśrī cult, titled “Mañjuśrī in Motion: The Cross-cultural
Characteristics and ‘International’ Impact of the Wutai Cult,” to be held at the Great Sage Monastery of
Bamboo Grove at Mount Wutai, July 19, 21-22, 2016 (conference information announced at
http://blogs.ubc.ca/dewei/call-for-papers-the-second-international-conference-on-the-wutai-cult/).
An International Young Scholars Forum on Buddhism and East Asian Cultures (July 16 at the Great
Sage Monastery of Bamboo Grove). Excellent articles may be recommended to academic journals for
publication. They include the Fojiao wenxian yanjiu (Studies on Buddhist Texts),
Foxue yanjiu (Buddhist Studies), Fojiao shi yanjiu (Historical Studies of
Buddhism), Studies in Chinese Religions, edited by Prof. Fang Guangchang, Prof. Shengkai, Prof. Sun
Yinggang, and Prof. Jinhua Chen, respectively.
Taste of the Dharma: a series of 1-2 hour sessions providing monastic experiences, including seated
meditation, tea-ceremony and other temple rituals.
Occasional visits to renowned local historical sites (especially Buddhist and other religious temples and
shines) on the Wutai range. Students with relevant research interests may also apply to participate in an
additional two-day (July 23-24) tour in Datong.
V. Applications: Participants are required to take part in all of the activities supported by this program,
including the four-part lecture series, the regular conference and the Young Scholar Forum (paper
presentations are optional, but attendance is required), field trips on the Wutai range (that in Datong is
optional), monastic experience session, etc. Graduate students specializing in any Buddhist tradition(s) or
East Asian religions, and postdoctoral fellows working on relevant fields, are encouraged to apply. Please
direct applications and inquiries to [email protected]. Please submit
applications before April 1, 2016. Each application should include (1) an application form (to be
provided upon request via the above email), (2) an updated curriculum vitae, (3) one writing sample, and
(4) a reference letter (to be emailed by the referee directly to the above email address).
VI. Program Expenses: Successful candidates will be exempted from all tuition fees. Program organizers
will also provide free boarding (lodging and meals) in China during the program period, although
participants are expected to cover
the costs for the transportation between their home cities and Mount Wutai; and
an administration fee of 1,000RMB≈US$150.
2. Chinese Object Study Workshops
Chinese Object Study Workshops is a program that provides graduate students in Chinese art history
an immersive experience in the study of objects. The week-long workshops (Monday-Friday) will help
students develop the skills necessary for working with objects, introduce them to conservation issues
not readily encountered in typical graduate art history curricula, and familiarize them with important
American museum collections.
Each workshop is intended for around ten graduate students, to be selected from across North
America and Europe through an open application process. These students will study and work with a
team of faculty and curators from the host museum. Eight workshops are planned for the next four
years, with two occurring during each academic year.
2016 WORKSHOPS
Workshop One: Early Chinese Paintings
Host: Museum of Fine Arts, Boston
Workshop Leaders:
•! Hui-shu Lee, University of California, Los Angeles
•! Richard Vinograd, Stanford University
•! Nancy Berliner, Museum of Fine Arts, Boston
•! Richard Barnhart, Yale University (Emeritus)
Dates: Monday-Friday, June 13-17, 2016
Explore early Chinese paintings in the Museum of Fine Arts, Boston (MFA). Drawing from the MFA’s
rich collection of works attributed to the Song and Yuan and earlier eras, the workshop will consider the
intertwined procedures of connoisseurship and attribution studies, conservation and technical studies,
object-driven scholarship, collecting history, canon formation (and deconstruction), and art historical
writing. Students will consider works of established historiographical importance as well as paintings
connected to emerging concerns in recent art historical writing, such as women and gender, Daoist
religious art, word/text/poetry-and-image relationships, interregional networks of Buddhist art exchange,
and images and imaginaries of ethnic others.
Workshop Two: Chinese Calligraphy
Host: Metropolitan Museum of Art
Workshop Leaders:
•! Robert Harrist Jr., Columbia University
•! Hui-Wen Lu, National Taiwan University
•! Joe Scheier-Dolberg, Metropolitan Museum of Art
Dates: Monday-Friday, August 29-September 2, 2016
Investigate works of Chinese calligraphy and related paintings from the Metropolitan Museum of Art.
Through close study of objects, students will learn to read signatures, inscriptions, and seals and to
understand the important ways in which writing informs the aesthetic, historical, and expressive
dimensions of Chinese art. Instructors will emphasize issues in connoisseurship, materials, techniques,
and determining authenticity. In addition to developing basic skills of analyzing and describing
calligraphy, students will explore the role of writing in works that combine texts and images. The
workshop also will consider Chinese calligraphy in relation to other traditions of writing as a fine art
represented in the museum's collections.
HOW TO APPLY
Deadline: March 1, 2016 (decisions to be announced by March 31)
Applications must be submitted in English (PDF file preferred) and include:
•! Application cover sheet (download)
•! Curriculum vitae
•! Graduate school transcript (unofficial is acceptable). Students from European universities at which
transcripts are not provided may submit similar documents (transcript of records, report of studies,
etc.)
•! 500-word statement discussing why the workshop is of interest; relevant previous research, classroom
work, or teaching experience; and the impact the workshop will have on future research and
professional development
•! One letter of recommendation from a professor of Chinese art history in a sealed envelope signed
across the flap. The letter of recommendation may be included with the application or sent directly
from the reviewer. Email is acceptable if the letter is sent directly from the reviewer. In either case, it is
the responsibility of the applicant to ensure that the letter of recommendation arrives by the
application deadline.
Students are welcome to apply for both workshops in a single application, addressing their background
and interest in each workshop in the application statement. Include one recommendation letter that
addresses the two workshop topics.
Email complete applications to [email protected].
https://www.asia.si.edu/research/workshops/chinese-object-study.asp
Call for paper
1. Memorial landscapes: World images East and West
International Warburg Seminar, Hamburg University / Aby Warburg Foundation, Hamburg, in
cooperation with National Taiwan Normal University and National Taiwan University, Taipei
The 2016-2017 International Warburg Seminar, to be held in Taipei on 26-30 September 2016 and in
Hamburg on 3-7 April 2017 and aimed at doctoral candidates and young academics, will be devoted to
comparative views of the landscape genre. People’s perception of their surrounding landscape is subject
to a variety of cultural encodings. This becomes particularly clear when international comparisons are
made – between, say, Eastern and Western conceptions of landscape. Whereas in the Western world
‘landscape’ and ‘landscape painting’ are practically synonymous (‘Claude Lorrain’s landscapes’), the
Chinese language, for instance, uses very different terms for the two concepts: ‘landscape’ in the sense of
a vista, (jǐngsè), is thus conceptually quite separate from the traditional notion of landscape
painting, (shānshuǐ), which is composed of the characters for ‘mountain’ ( ) and ‘water’ ( ). At
the same time, notions of landscape are subject to constant historical change, and the landscape painting
genre has performed a whole series of different tasks which may also vary from period to period.
Landscapes are not only veduta-like depictions of nature, but they also provide subjective perspectives
on the artist’s realm of experience; they may be outlines for ideal or world landscapes that are more or
less distinct from their natural models; and they may be much else besides.
The International Warburg Seminar on Memorial landscapes: world images East and West will focus
not so much on aspects of landscape that only depict natural settings as on those that address the
construction of cultural links in the broadest sense, creating landscapes with a motivic, thematic, social or
political charge – to paraphrase Pierre Nora, paysages de mémoire. Such landscape images encapsulate
historical events and national identities, basic philosophical attitudes and political conflicts or cultural,
social or environmental issues. The landscape can then become not only a form of reflection on links
beyond landscape itself, but also a meta-genre that expresses how nature and landscape are perceived by
a particular artist, cultural region or period.
Doctoral candidates or young post-graduate art historians from all over the world are invited to submit
proposals for the seminar theme. These may include both proposals in the field of Asian and Western
art history during any period from the Middle Ages to the present day, as well as – and in particular –
themes that already deal with transfer between Eastern and Western notions of landscape. Participants
will be expected to give a talk on their proposal. It is planned that proposals accepted for the seminar will
be published. During the first week of the seminar, in autumn 2016, all the participants will present
preliminary papers which will be further developed in the light of discussions in preparation for the
second week of the seminar. The contributions will be jointly edited during the spring 2017 session. All
travel and accommodation expenses will be covered by the organizers. The seminar will be held in
English. Applications including a detailed thematic proposal (max. two pages), a CV (resume), a list of
relevant publications and a letter of recommendation from the applicant’s academic supervisor or a
senior researcher must be submitted in PDF format by 10 March 2016 to Professor Shai-Shu Tzeng,
National Taiwan Normal University ([email protected]), Professor Yih-Fen Hua, National Taiwan
University ([email protected]) and Professor Uwe Fleckner, University of Hamburg
2. All the Beauty of the World (Berlin, 13-15 Oct 16)
Berlin, October 13-15, 2016
Deadline: Feb 15, 2016
All the Beauty of the World.The Western Market for non-European Artefacts (18th-20th century)
International Symposium
Berlin, Germany
In the wake of the Western expansion, a fast growing number of non-European artefacts entered the
European market. They initially made their way into princely cabinets of curiosities. Enabled by the
forced opening and exploitation of more and more parts of the world and pushed by social and
technological changes of the time, the 18th century brought a boom of the market of non-European
artefacts in Europe. This came along with the emergence of a broader collecting culture and the
development of a rich museumscape.
This market and its development in terms of methods and places of exchange and monetary and
ideological value of the objects are in the focus of an international symposium organised by the Institute
for Art History in cooperation with the Center for Art Market Studies at Technical University Berlin, in
collaboration with the Institut d'histoire moderne et contemporaine (CNRS) and the Labex TransferS
(PSL) in Paris. The keynote lecture will be given by Prof. Timothy Brook, holder of the Republic of
China Chair at the University of British Columbia.
The aim of the symposium is to examine how the market for non-European artefacts developed
between 18th and 20th century and to which extend it was entangled with the history of museums and
private collections. The following five topics will serve as main axis: actors and networks, places of
purchase and trade, transfer and transport, prices and value and expertise. The axes are entangled and
should not be regarded as separated topics.
1. Actors and networks: Who were the actors of the market (e.g. art dealers, commercial agents, carriers
but also diplomats, travellers, expats, missionaries or military as well as museums and collectors)? Which
regional specifications can be identified? Who were the key figures of the market(s)? Which networks
can be spotted? How did they work?
2. Places of purchase and trade: What were the centres of the purchase and/or trade of art objects (in the
countries of origin as well as in Europe)? How did they develop in the course of the period of
examination? Which significance did the primary markets and their political/social development have for
the European market? Did the European market turned into the primary market at a certain time? What
were the main places for purchase and trade in Europe (e.g. auctions houses, galleries, private houses)?
What marketing methods can be identified?
3. Transfer and transport: What were the (political, social, technological) circumstances of the objects
purchase? To which extend did technological developments (e.g. establishment of railway lines)
influence the market offer? How were the objects brought to Europe (e.g. export and import regulations,
methods of transport)?
4. Prices and value: Which payment methods or methods of exchange did exist? How did they impact
the value of objects? How was the value of an object determined? To which extend did this value
change in space and time (difference between primary and secondary market; development in the course
of time)? Despite the monetary value of a price: which other function in the act of purchase can be
identified (e.g. legitimation of possession)? And to which extend did the change of the price and value
shape the European collections? Here, we are especially interested in the shift from an economy of
looting or/and bazaar in the countries of origin to the pricing and “rational” marketing after the arrival
and commercialisation of the objects in Europe.
5. Expertise: How did the perception of and the knowledge about non-European art develop? How was
the knowledge generated and transferred? Which role did individual actors (e.g. dealers, museums,
collectors) play in the development of the perception of the objects? To which extend did the
development of expertise influence the market offer, the display of the objects and the character of the
collections?
The focus of the investigation will be set on the development between 18th and 20th century. Papers
exploring the market development before 18th century and especially those comparing the development
before and after 1700 are also welcome.
Conference language is English.
Papers should be a maximum of 20 minutes in length, and preference will be given to proposals that
stimulate dialogue and engage with broader topics. Please send proposals (max. 300 words) with a short
academic CV to [email protected] by 15 February 2016 at the latest. Selected speakers will be
notified by 15 March 2016. Financial assistance with travel expenses for speakers may be available
(subject to grant approval).
Convenors:
Prof. Dr. Bénédicte Savoy (TU Berlin)
Dr. Charlotte Guichard (CNRS, IHMC, Paris)
Dr. Christine Howald (TU Berlin)
http://arthist.net/archive/11972
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1) Scrolling Paintings Project
University of Chicago
https://lucian.uchicago.edu/blogs/caea/scrolling-paintings/
Handscroll paintings, painted horizontally on a pieces of silk or sheets of paper and mounted as scrolls,
are a major type of traditional East Asian painting, distinctive in their format and method of viewing.
Their creation is based on special principles that differ from those of painting single-framed pictures as
they are continuous pictures that progress in space and time. Handscroll paintings are meant to be
handled as well as seen–unrolled for viewing and rolled up for storage. Viewing section by section calls
for particular kinds of engagement or participation on the part of the viewer moving forward (from left
to right) stopping and going back. In addition to painted images, the scrolls often include handwritten
text, artists’ signatures and seals, and the seals of later owners of the painting. The texts might include
narrative and descriptive passages on the painting itself and colophons added at the end, including
comments by of the painters’ associates and later viewers, including owners of the paintings. These can
provide a social history of the painting.
Because of the rare and fragile nature of these paintings, however, they are rarely shown. They cannot be
handled by the public or exposed to light for extended periods in exhibitions. Therefore our center
created this interactive site to simulate the experience of viewing handscrolls in ways that published
photographs in books and projected slides cannot and to make them more widely accessible for teaching
and research.
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Masterpieces of Chinese Painting from the Metropolitan Collection Rotation 1: 10/31/2015–4/17/2016 Rotation 2: 5/7/2016–10/11/2016 During the last forty years, the Metropolitan’s collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. With masterpieces dating from the Tang dynasty (608–917) to the Qing (1644–1911), the collection encompasses the vast historical sweep of the brush arts of China, from meticulous court painting to fiercely brushed dragons to lyrical paintings by scholars. The exhibition is part of a yearlong celebration marking the centennial of the Department of Asian Art. This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368) dynasties.
大都会馆藏中国书画精品特展 一期: 10/31/2015–4/17/2016 二期: 5/7/2016–10/11/2016
过去四十年中,大都会博物馆逐渐发展成世上最重要的中国书画收藏機構之一。馆藏囊括唐朝
(618–907) 到當今的历代笔墨精華,從祥和的佛经,到浮夸的宫廷肖像,再到遣興的文人画。展览
将馆藏珍品按時代陈列,对宋 (960–1279)、元 (1271–1368) 两朝尤有侧重。
Rotation 1 一期: 10/31/2015–4/17/2016
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
唐 韓幹 照夜白圖 卷
Han Gan, Chinese, active ca. 742–756
Night-Shining White
China
Handscroll
ca. 750
Handscroll; ink on paper
1977.78
唐 傳鍾紹京 楷書靈飛經 冊
Zhong Shaojing, Chinese, active ca. 713–41
Spiritual Flight Sutra
China
Album
ca. 738
Album of nine leaves; ink on paper
1989.141.1a–i
南宋 佚名 明皇幸蜀圖 軸
Unidentified Artist
Emperor Xuanzong's Flight to Shu
China
Hanging scroll
mid-12th century
Hanging scroll; ink, color, and gold on silk
41.138
五代/北宋 佚名 乞巧圖 軸
Unidentified Artist
Palace Banquet
China
Hanging scroll
Hanging scroll; ink and color on silk
2010.473
北宋 佚名 倣范寬山水圖 軸
Unidentified Artist
Fan Kuan, Chinese, active ca. 990–1030
Landscape in the Style of Fan Kuan
China
Hanging scroll
early 12th century
Hanging scroll; ink and color on silk
56.151
1
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
北宋 黃庭堅 草書廉頗藺相如傳 卷
Huang Tingjian, Chinese, 1045–1105
Biographies of Lian Po and Lin Xiangru
China
Handscroll
ca. 1095
Handscroll; ink on paper
1989.363.4
北宋 李公麟 孝經圖 卷
Li Gonglin, Chinese, ca. 1041–1106
The Classic of Filial Piety
China
Handscrolls
ca. 1085
Three handscrolls: a) painting, ink on silk; b) colophons, ink on paper;
c) modern copy preserving seventeenth century silk restorations, ink on paper
and silk
1996.479a–c
北宋 佚名 睢陽五老, 畢世長像 冊頁
Unidentified Artist
Portrait of Bi Shichang, from the set Five Old Men of Suiyang
China
Album leaf
before 1056
Album leaf; ink and color on silk
17.170.1
南宋 高宗 草書天山陰雨七絕詩 團扇
Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162
Quatrain on Heavenly Mountain
China
Fan mounted as an album leaf
after 1162
Round fan mounted as album leaf; ink on silk
1989.363.6
2
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
南宋 楊皇后 楷書瀹雪凝酥七絕 團扇
Empress Yang Meizi, Chinese, 1162–1232
Quatrain on Yellow Roses
China
Fan mounted as an album leaf
Fan mounted as an album leaf; ink on silk
1989.363.13
南宋 馬遠 月下賞梅圖 團扇冊頁 絹本
Ma Yuan, Chinese, active ca. 1190–1225
Viewing Plum Blossoms by Moonlight
China
Folding fan mounted as an album leaf
early 13th century
Fan mounted as an album leaf; ink and color on silk
1986.493.2
南宋 夏珪 山市晴嵐圖 冊頁
Xia Gui, Chinese, active ca. 1195–1230
Mountain Market, Clear with Rising Mist
China
Album leaf
early 13th century
Album leaf; ink on silk
13.100.102
南宋 理宗趙昀 行書北宋梅堯臣 依韻和資政侍郎雪後登看山亭詩
團扇
Emperor Lizong, Chinese, 1205–64, r. 1224–64
Quatrain on Snow-covered West Lake
China
Fan mounted as an album leaf
Fan mounted as an album leaf; ink on silk
1989.363.18
3
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
南宋 趙孟堅 水仙圖 卷
Zhao Mengjian, Chinese, 1199–before 1267
Narcissus
China
Handscroll
mid-13th century
Handscroll; ink on paper
1973.120.4
南宋 趙孟堅 行書梅竹詩譜 卷
Zhao Mengjian, Chinese, 1199–before 1267
Poems on Painting Plum Blossoms and Bamboo
China
Handscroll
dated 1260
Handscroll; ink on paper
1989.363.28
元 耶律楚材 行書贈別劉滿詩 卷
Yelü Chucai, Khitan, 1190–1244
Poem of Farewell to Liu Man
China
Handscroll
dated 1240
Handscroll; ink on paper
1989.363.17
北宋 傳黃宗道 舊傳李贊華 獵鹿圖 卷
Huang Zongdao, Chinese, active ca. 1120
Li Zanhua, Chinese, 899–936
Stag Hunt
China
Handscroll
Handscroll; ink and color on paper
1982.3.1
北宋 傳楊邦基 聘金圖 卷
Yang Bangji, Chinese, ca. 1110–1181
A Diplomatic Mission to the Jin
China
Handscroll
ca. late 1150s
Handscroll; ink and color on silk
1982.1.1
4
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
南宋 傳陳居中 胡騎春獵圖 團扇
Chen Juzhong, Chinese, active 1200–1230
Nomads Hunting with Falcons
China
Fan mounted as an album leaf
early 13th century
Fan mounted as an album leaf; ink and color on silk
47.18.32
元 佚名 蓮花圖 軸
Unidentified Artist
Lotus and Water Birds
China
Hanging scrolls
ca. 1300
Pair of hanging scrolls; ink and color on silk
1988.155a, b
南宋 佚名 阿彌陀如來圖 軸
Unidentified Artist
Buddha Amitabha Descending from His Pure Land
China
Hanging scroll
13th century
Hanging scroll; ink and color on silk
1980.275
元 李堯夫 蘆葉達摩圖 軸
Li Yaofu, Chinese, active ca. 1300
Bodhidharma Crossing the Yangzi River on a Reed
China
Hanging scroll
before 1317
Hanging scroll; ink on paper
1982.1.2
5
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
南宋 傳直翁 藥山李翱問道圖 軸
Zhiweng, Chinese, active first half of the 13th century
Meeting between Yaoshan and Li Ao
China
Album leaf mounted as a hanging scroll
before 1256
Album leaf mounted as a hanging scroll; ink on paper
1982.2.1
南宋 佚名 騎驢圖 軸
Unidentified Artist
Chan Master Riding a Mule
China
Hanging scroll
before 1249
Hanging scroll; ink on paper
1989.363.24
元 趙蒼雲 劉晨阮肇入天台山圖卷
Zhao Cangyun, Chinese, active late 13th–early 14th century
Liu Chen and Ruan Zhao Entering the Tiantai Mountains
China
Handscroll
Handscroll; ink on paper
2005.494.1
元 趙孟頫, 趙雍, 趙麟 吳興趙氏三世人馬圖 卷
Zhao Mengfu, Chinese, 1254–1322
Zhao Yong, Chinese, 1289–after 1360
Zhao Lin, Chinese, active second half of the 14th century
Horses and Grooms
China
Handscroll
1296 and 1359
Handscroll; ink and color on paper
1988.135
元 張羽材 霖雨圖 卷
Zhang Yucai, Chinese, active 1295–1316
Beneficent Rain
China
Handscroll
late 13th–early 14th century
Handscroll; ink on silk
1985.227.2
6
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
元 周東卿 漁樂圖 卷
Zhou Dongqing, Chinese, active late 13th century
The Pleasures of Fishes
China
Handscroll
dated 1291
Handscroll; ink and color on paper
47.18.10
元 方從義 雲山圖 卷
Fang Congyi, Chinese, ca. 1301–after 1378
Cloudy Mountains
China
Handscroll
second half of 14th century
Handscroll; ink and color on paper
1973.121.4
元 倪瓚 秋林野興圖 軸
Ni Zan, Chinese, 1306–1374
Enjoying the Wilderness in an Autumn Grove
China
Hanging scroll
dated 1339
Hanging scroll; ink on paper
1989.363.38
元 張遜 石上松花圖 軸
Zhang Xun, Chinese, ca. 1295–after 1349
Rocky Landscape with Pines
China
Hanging scroll
before 1346
Hanging scroll; ink on silk
2008.673
元 陸廣 丹臺春曉圖 軸
Lu Guang, Chinese, ca. 1300–after 1371
Spring Dawn Over the Elixir Terrace
China
Hanging scroll
ca. 1369
Hanging scroll; ink on paper
1982.2.2
7
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
元 盛懋 秋林漁隱圖 團扇
Sheng Mou, Chinese, active ca. 1310–1360
Recluse Fisherman, Autumn Trees
China
Fan mounted as an album leaf
dated 1349
Fan mounted as an album leaf; ink and color on silk
1973.121.13
元 盛著 秋江垂釣圖 團扇
Sheng Zhu, Chinese, active late 14th century
Angling in the Autumn River
China
Fan mounted as an album leaf
ca. 1370
Fan mounted as an album leaf; ink and color on silk
1973.121.14
元 吳鎮 老松圖 軸
Wu Zhen, Chinese, 1280–1354
Crooked Pine
China
Hanging scroll
dated 1335
Hanging scroll; ink on silk
1985.120.1
元 王冕 墨梅圖 軸
Wang Mian, Chinese, 1287–1359
Fragrant Snow at Broken Bridge
China
Hanging scroll
Hanging scroll; ink on silk
1973.121.9
8
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
元 唐棣 摩詰詩意圖 軸
Tang Di, Chinese, ca. 1287–1355
Landscape after a Poem by Wang Wei
China
Hanging scroll
dated 1323
Hanging scroll; ink and color on silk
1985.214.147
元 羅稚川 古木寒鴉圖 軸
Luo Zhichuan, Chinese, active ca. 1300–30
Old Trees, Pheasants, and Crows in Winter
China
Hanging scroll
Hanging scroll; ink and color on silk
1973.121.6
明 傳謝環 杏園雅集圖 卷
Xie Huan, Chinese, 1377–1452
Elegant Gathering in the Apricot Garden
China
Handscroll
ca. 1437
Handscroll; ink and color on silk
1989.141.3
元/明 佚名 竹鶴雙清圖 軸
Unidentified Artist
Crane in a Bamboo Grove
China
Hanging scroll
14th–early 15th century
Hanging scroll; ink and color on silk
1991.378
9
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
明 林良 二鷹圖 軸
Lin Liang, Chinese, ca. 1416–1480
Two Hawks in a Thicket
China
Hanging scroll
15th century
Hanging scroll; ink and pale color on silk
1993.385
明 劉俊 納諫圖 軸
Liu Jun, Chinese, active ca. 1475–ca. 1505
Remonstrating with the Emperor
China
Hanging scroll
Hanging scroll; ink and color on silk
2005.494.3
明 佚名 鳥販圖 軸
Unidentified Artist
Bird Peddler
China
Hanging scroll
late 15th–early 16th century
Hanging scroll; ink and color on silk
1998.48
明 陳子和 古木酒仙圖 軸
Chen Zihe, Chinese, active late 15th–early 16th century
Drunken Immortal beneath an Old Tree
China
Hanging scroll
early 16th century
Hanging scroll; ink on silk
2005.494.4
10
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
(10/31/2015-4/17/2016)
清 王原祁 輞川圖 卷
Wang Yuanqi, Chinese, 1642–1715
Wangchuan Villa
China
Handscroll
dated 1711
Handscroll; ink and color on paper
1977.80
清 王翬等 康熙南巡圖,第三卷: 濟南至泰山
Wang Hui, Chinese, 1632–1717
The Kangxi Emperor's Southern Inspection Tour, Scroll Three: Ji'nan to
Mount Tai
China
Handscroll
datable to 1698
Handscroll; ink and color on silk
1979.5a–d
清 朱耷(八大山人) 魚石圖 軸
Bada Shanren (Zhu Da), Chinese, 1626–1705
Fish and Rocks
China
Hanging scroll
dated 1699
Hanging scroll; ink on paper
1989.363.137
清 朱耷(八大山人) 蓮塘戲禽圖 卷
Bada Shanren (Zhu Da), Chinese, 1626–1705
Birds in a Lotus Pond
China
Handscroll
ca. 1690
Handscroll; ink on satin
1989.363.135
清 朱耷 (八大山人) 二鷹圖 軸
Bada Shanren (Zhu Da), Chinese, 1626–1705
Two Eagles
China
Hanging scroll
dated 1702
Hanging scroll; ink on paper
2014.721
11
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1
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清 徐揚等 乾隆南巡圖, 第六卷﹕大運河至蘇 州
Xu Yang, Chinese, active ca. 1750–after 1776
The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering
Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi
Suzhou)
China
Handscroll
dated 1770
Handscroll; ink and color on silk
1988.350a–d
12
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北宋 傳屈鼎 夏山圖 卷
Qu Ding, Chinese, active ca. 1023–ca. 1056
Summer Mountains
China
Handscroll
mid-11th century
Handscroll; ink and color on silk
1973.120.1
北宋 郭熙 樹色平遠圖 卷
Guo Xi, Chinese, ca. 1000–ca. 1090
Old Trees, Level Distance
China
Handscroll
ca. 1080
Handscroll; ink and color on silk
1981.276
北宋 徽宗 竹禽圖 卷
Emperor Huizong, Chinese, 1082–1135; r. 1100–25
Finches and Bamboo
China
Handscroll
Handscroll; ink and color on silk
1981.278
北宋 黃庭堅 草書廉頗藺相如傳 卷
Huang Tingjian, Chinese, 1045–1105
Biographies of Lian Po and Lin Xiangru
China
Handscroll
ca. 1095
Handscroll; ink on paper
1989.363.4
五代 傳董元 溪岸圖 軸
Dong Yuan, Chinese, active 930s–960s
Riverbank
China
Hanging scroll
Hanging scroll; ink and color on silk
L.1997.24.1
1
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宋 佚名 倣李成 寒林策驢圖 軸
Unidentified Artist
Li Cheng, Chinese, 919–967
Travelers in a Wintry Forest ("Hanlin celü")
China
Hanging scroll
early 12th century
Hanging scroll; ink and color on silk
1972.121
北宋 米芾 草書吳江舟中詩 卷
Mi Fu, Chinese, 1052–1107
Poem Written in a Boat on the Wu River
China
Handscroll
ca. 1100
Handscroll; ink on paper
1984.174
南宋 米友仁 雲山圖 卷
元 鮮于樞 題米友仁雲山圖
Mi Youren, Chinese, 1074–1151
Cloudy Mountains
China
Handscroll
colophon dated to 1200
Handscroll; ink on paper
1973.121.1
南宋 傳李唐 晉文公復國圖 卷
Li Tang, Chinese, ca. 1070s–ca. 1150s
Duke Wen of Jin Recovering His State
China
Handscroll
datable to early 1140
Handscroll; ink and color on silk
1973.120.2
南宋 高宗 草書天山陰雨七絕詩 團扇
Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162
Quatrain on Heavenly Mountain
China
Fan mounted as an album leaf
after 1162
Round fan mounted as album leaf; ink on silk
1989.363.6
2
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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南宋 楊皇后 楷書瀹雪凝酥七絕 團扇
Empress Yang Meizi, Chinese, 1162–1232
Quatrain on Yellow Roses
China
Fan mounted as an album leaf
Fan mounted as an album leaf; ink on silk
1989.363.13
南宋 傳閻次于 松壑隱棲圖 團扇
Yan Ciyu, Chinese, act. ca. 1164–81
Yan Ciping, Chibese, active 12th century
Hermitage by a Pine-covered Bluff
China
Fan mounted as an album leaf
Fan mounted as an album leaf; ink and color on silk
1973.121.12a, b
南宋 梁楷 澤畔行吟圖 團扇
Liang Kai, Chinese, active first half of the 13th century
Poet Strolling by a Marshy Bank
China
Fan mounted as an album leaf
Fan mounted as an album leaf; ink on silk
1989.363.14
南宋 佚名 舊傳五代周文矩 琉璃堂人物圖 卷
Unidentified Artist
Scholars of the Liuli Hall
China
Handscroll
late 13th century
Handscroll; ink and color on silk
1977.49
宋 傳趙克敻 藻魚圖 冊頁
Zhao Kexiong, Chinese, active early 12th century
Fish at Play
China
Album leaf
Album leaf; ink and color on silk
13.100.110
3
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
(5/7/2016-10/11/2016)
南宋 佚名 竹梅小禽圖 團扇
Unidentified Artist
Sparrows, Plum Blossoms, and Bamboo
China
Fan mounted as an album leaf
late 12th century
Fan mounted as an album leaf; ink and color on silk
24.80.487
南宋 馬和之 詩經豳風圖 卷
Ma Hezhi, Chinese, ca. 1130–ca. 1170
Odes of the State of Bin
China
Handscroll
Handscroll; ink, color, gold and silver on silk
1973.121.3
南宋 李結 西塞漁社圖 卷
Li Jie, Chinese, ca. 1124– after 1191
Fisherman's Lodge At Mount Xisai
China
Handscroll
ca. 1170
Handscroll; ink and color on silk
1989.363.10a, b
南宋 傳劉松年 倣高克明 溪山雪意圖 卷
Liu Songnian, Chinese, active ca 1175–after 1195
Streams and Mountains Under Fresh Snow
China
Handscroll
Handscroll; ink and color on silk
1984.274
南宋 佚名 寒江釣雪圖 軸
Unidentified Artist
Fishing on a Snowy River
China
Hanging scroll
Hanging scroll; ink and color on silk
L.1980.74
4
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
(5/7/2016-10/11/2016)
南宋 金處士 十王圖 軸(之二)
Jin Chushi, Chinese, active late 12th century
Ten Kings of Hell
China
Hanging scroll
before 1195
One of five of a set of ten hanging scrolls; ink and color on silk
30.76.291
南宋 金處士 十王圖 軸(之五)
Jin Chushi, Chinese, active late 12th century
Ten Kings of Hell
China
Hanging scroll
before 1195
One of five of a set of ten hanging scrolls; ink and color on silk
30.76.294
南宋 佚名 阿彌陀如來圖 軸
Unidentified Artist
Buddha Amitabha Descending from His Pure Land
China
Hanging scroll
13th century
Hanging scroll; ink and color on silk
1980.275
北宋 維摩詰經 卷
Unidentified Artist
Vimalakirti Sutra
China
Handscroll
dated January 13, 1119
Handscroll; gold and silver on purple silk
47.18.2
南宋/元 顏庚 鍾馗嫁妹圖 卷
Yan Geng, active late 13th century
The Demon Queller Zhong Kui Giving His Sister Away in Marriage
China
Handscroll
Handscroll; ink on silk
1990.134
5
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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元 錢選 王羲之觀鵝圖 卷
Qian Xuan, Chinese, ca. 1235–before 1307
Wang Xizhi Watching Geese
China
Handscroll
ca. 1295
Handscroll; ink, color, and gold on paper
1973.120.6
元 趙孟頫 雙松平遠圖 卷
Zhao Mengfu, Chinese, 1254–1322
Twin Pines, Level Distance
China
Handscroll
ca. 1310
Handscroll; ink on paper
1973.120.5
元 趙孟頫 行書右軍四事 卷
Zhao Mengfu, Chinese, 1254–1322
Four Anecdotes from the Life of Wang Xizhi
China
Handscroll
datable to ca. 1310
Handscroll; ink on paper
1989.363.30
元 王振鵬 維摩不二圖 卷
Wang Zhenpeng, Chinese, active ca. 1275–1330
Vimalakirti and the Doctrine of Nonduality
China
Handscroll
dated 1308
Handscroll; ink on silk
1980.276
元 唐棣 滕王閣圖 卷
Tang Di, Chinese, ca. 1287–1355
The Pavilion of Prince Teng
China
Handscroll
dated 1352
Handscroll; ink on paper
1989.363.36
6
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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元 夏永 黃樓圖 冊頁
Xia Yong, Chinese, active mid-14th century
The Yellow Pavilion
China
Album leaf
ca. 1350
Album leaf; ink on silk
1991.438.3
元 鮮于樞 草書石鼓歌 卷
Xianyu Shu, Chinese, 1246–1302
Song of the Stone Drums
China
Handscroll
dated 1301
Handscroll; ink on paper
1989.363.29
元 姚彥卿 (廷美) 雪山行旅圖 軸
Yao Yanqing (Tingmei), Chinese, ca. 1300–after 1360
Traveling through Snow-Covered Mountains
China
Hanging scroll
Hanging scroll; ink on silk
2011.573
元 張羽 松軒春靄圖 軸
Zhang Yu, Chinese, 1333–1385
Spring Clouds at the Pine Studio
China
Hanging scroll
dated 1366
Hanging scroll; ink and color on paper
1980.426.3
元 趙原 (元) 晴川送客圖 軸
Zhao Yuan, Chinese, active ca. 1350–75
Farewell by a Stream on a Clear Day
China
Hanging scroll
early 1370s
Hanging scroll; ink on paper
1973.121.8
7
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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元 吳鎮 蘆灘釣艇圖 卷
Wu Zhen, Chinese, 1280–1354
Fisherman
China
Handscroll
ca. 1350
Handscroll; ink on paper
1989.363.33
元/明 宋克 草書負郭堂成七律詩 卷
Song Ke, Chinese, 1327–1387
Poem on Retirement
China
Handscroll
Handscroll; ink on gold-flecked paper
1989.363.40
元 趙原 (元) 倣燕文貴范寬山水圖 卷
Zhao Yuan, Chinese, active ca. 1350–75
Landscape in the Style of Yan Wengui and Fan Kuan
China
Handscroll
Handscroll; ink on paper
1981.285.15
元/明 沈巽 竹石圖 卷
Shen Xun, (active ca. 1370–1400)
Bamboo Grove
China
Handscroll
Handscroll; ink and color on paper
1981.285.16
元 倪瓚 江渚風林圖 軸
Ni Zan, Chinese, 1306–1374
Wind among the Trees on the Riverbank
China
Hanging scroll
dated 1363
Hanging scroll; ink on paper
1989.363.39
8
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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元 倪瓚 虞山林壑圖 軸
Ni Zan, Chinese, 1306–1374
Woods and Valleys of Mount Yu
China
Hanging scroll
dated 1372
Hanging scroll; ink on paper
1973.120.8
元 王蒙 素庵圖 軸
Wang Meng, Chinese, ca. 1308–1385
The Simple Retreat
China
Hanging scroll
ca. 1370
Hanging scroll; ink and color on paper
2012.526.2
元 鄧宇 竹石圖 軸
Deng Yu, Chinese, ca. 1300–after 1378
Bamboo and Rock
China
Hanging scroll
ca. 1360–67
Hanging scroll; ink on paper
1991.438.1
元 李衎 竹石圖 軸二幅
Li Kan, Chinese, 1245–1320
Bamboo and Rocks
China
Hanging scrolls
dated 1318
Pair of hanging scrolls; ink and color on silk
1973.120.7a, b
9
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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明 沈周 溪山秋色圖 卷
Shen Zhou, Chinese, 1427–1509
Autumn Colors among Streams and Mountains
China
Handscroll
ca. 1490–1500
Handscroll; ink on paper
1979.75.1
元/明 吳伯理 龍松圖 軸
Wu Boli, Chinese, active late 14th–early 15th century
Dragon Pine
China
Hanging scroll
ca. 1400
Hanging scroll; ink on paper
1984.475.3
明 夏昶 清風高節圖 軸
Xia Chang, Chinese, 1388–1470
Bamboo in Wind
China
Hanging scroll
ca. 1460
Hanging scroll; ink on paper
1989.235.1
明 戴進 雪歸圖 軸
Dai Jin, Chinese, 1388–1462
Returning Home Through the Snow
China
Hanging scroll
ca. 1455
Hanging scroll; ink and color on silk
1992.132
10
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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明 鍾禮 觀瀑圖 軸
Zhong Li, Chinese, active ca. 1480–1500
Scholar Looking at a Waterfall
China
Hanging scroll
late 15th century
Hanging scroll; ink and color on silk
1991.438.4
明 杜堇 伏生授經圖 軸
Du Jin, Chinese, active ca. 1465–1509
The Scholar Fu Sheng Transmitting the Book of Documents
China
Hanging scroll
15th–mid-16th century
Hanging scroll; ink and color on silk
1991.117.2
明 文徵明 樓居圖 軸
Wen Zhengming, Chinese, 1470–1559
Living Aloft: Master Liu's Retreat
China
Hanging scroll
dated 1543
Hanging scroll; ink and color on paper
L.2001.85.2
明 陸治 種菊圖 軸
Lu Zhi, Chinese, 1495–1576
Planting Chrysanthemums
China
Hanging scroll
mid-16th century
Hanging scroll; ink and pale color on paper
1986.266.3
11
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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明 董其昌 溪山樾館圖 軸 紙本
Dong Qichang, Chinese, 1555–1636
Shaded Dwellings among Streams and Mountains
China
Hanging scroll
ca. 1622–25
Hanging scroll; ink on paper
1979.75.2
清 王鑑 仿古山水圖 冊 紙本
Wang Jian, Chinese, 1609–77 or 1688
Wang Shimin, Chinese, 1592–1680
Landscapes in the styles of old masters
China
Album
dated 1668
Album of ten paintings; ink and color on paper
1979.439a–o
清 吳歷 墨井草堂消夏圖 卷
Wu Li, Chinese, 1632–1718
Whiling Away the Summer
China
Handscroll
dated 1679
Handscroll; ink on paper
1977.81
清 徐揚等 乾隆南巡圖, 第六卷﹕大運河至蘇 州
Xu Yang, Chinese, active ca. 1750–after 1776
The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering
Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi
Suzhou)
China
Handscroll
dated 1770
Handscroll; ink and color on silk
1988.350a–d
清 石濤 (朱若極) 十六羅漢圖 卷
Shitao (Zhu Ruoji), Chinese, 1642–1707
The Sixteen Luohans
China
Handscroll
dated 1667
Handscroll; ink on paper
1985.227.1
12
MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2
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13