展覽：

藝術/文化/史

ArtsInfo

07/29/2011

1. 感謝Kevin McLoughlin、朱萬章、板倉聖哲、黃立芸、何傳馨所提供的資訊。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、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

■ 亞洲

1. 香港藝術館

2. 澳門藝術博物館

3. 廣東省博物館

4. 東京國立博物館

5. 京都國立博物館

6. 観峰館

7. 泉屋博古館

8. 黒川古文化研究所

9. 大和文華館

10. 澄懐堂美術館

11. 九州博物館

12. 大阪美術館

13. 高麗美術館

■ 歐美

1. Freer Gallery of Art

2. Art Museum, Princeton University

3. The Metropolitan Museum of Art

4. Honolulu Academy of Arts

台灣

1. 故宮博物院展覽：

http://www.npm.gov.tw/exhbition/object.htm

1）山水合璧─黃公望與富春山居圖特展

展期：2011年6月2日 ~ 2011年9月5日(第一階段到七月底)

陳列室：210, 212

故宮珍藏的國寶級畫作〈富春山居圖〉與原屬一卷今藏於浙江博物館的〈剩山圖〉，將同時展出，重現元代黃公望曠世傑作的原貌。「山水合璧─黃公望與富春山居圖特展」展覽內容規劃為「黃公望的繪畫淵源」、「黃公望書畫珍蹟」包含〈富春山居圖〉與〈剩山圖〉、「黃公望之友」、「富春山居圖臨仿本」及「黃公望的影響」等單元，以呈現〈富春山居圖〉在中國文人畫傳統中承先啟後的藝術成就。因此展品除了國立故宮博物院的〈富春山居圖〉、黃公望其他畫作與其師承與影響之畫作，以及浙江博物館的〈剩山圖〉之外，尚借自北京故宮、中國國家博物館、上海博物館、南京博物院及雲南省博物館等博物館書畫作品，以呈現黃公望的書畫淵源、存世真跡與後世影響。

2）錦繡自玲瓏－院藏貿易瓷特展

展期： 至100年9月25日

陳列室：203

3）錦繡呈輝－五代繡三星圖

展期：2011/07/01 ~ 2011/09/18

陳列室：203

4) 精彩100‧國寶總動員

展　期：2011/09/23 ~ 2012/01/03

陳列室：105, 107, 202, 204, 206, 208, 210, 212

http://tech2.npm.edu.tw/Exhibit/sysweb/npm100/zh-tw/index.html

2. 臺灣國立美術館

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

亞洲

1. 香港藝術館

1）抗古希心－李研山的藝術

展期：2011年6月10日 至 2011年10月16日

陳列室：中國書畫展覽廳 (四樓)

李研山（1898 – 1961）是近現代廣東畫壇舉足輕重的人物，1930年代，他是廣東國畫研究會的骨幹成員，同時又是廣州市市立美術學校的校長，對粵港兩地的藝術發展影響深遠。是次展出的作品與文獻，充分反映李研山的藝術人生及其與粵港兩地藝壇的密切關係。

是次展覽將展出逾120幅李氏的山水、花鳥作品。他上承元、明之風格並於此基礎上發展其個人畫風，深厚傳統功力在其臨古精品中可見一斑。這批難得的李研山平生力作，乃是由李氏後人完整保存，並慷慨借出展覽。

http://www.lcsd.gov.hk/ce/Museum/Arts/chinese/exhibitions/exhibitions01_apr11_03.html

2）遨遊天地 ─ 中國瑞獸珍禽文物

展期：2011年7月22日起

陳列室：中國文物展覽廳 (1) (三樓)

自古以來，人類與動物的關係密切，早在遠古狩獵時代，人類便依靠動物以供應生存所需，許多原始氏族亦以動物作為部落的守護神，期盼透過對生物的崇敬而得到福祉庇護。

新石器時代(約公元前7000-前2100))甘肅嘉峪關與賀蘭山的岩畫已出現牛、羊、鹿等動物題材，形象地展現中國古代草原地區游牧民族的生活狀況。新石器時代仰韶文化的彩陶亦繪有大量魚、蛙、雀鳥圖案。商代(約公元前1600-前1100)不少青銅器上鑄有饕餮、夔龍、鳳鳥等著重形式美的紋飾。隋(581-618)、唐(618-907)時，從三彩馬和鎮墓獸中可見動物靈獸的造形，已栩栩如生。宋(960-1279)瓷上的鳥獸圖案，更是形象活潑，線條流暢。及至明(1368-1644)、清(1644-1911)時期，帝皇的袍服以至朝廷的文武官員穿著的服飾，都嚴格規定了以不同的鳥獸圖案以作官階、權位等級的識別。

是次展覽精選了香港藝術館藏一百八十多項以各種鳥獸作紋飾和造型的文物，包括象徵權力的龍鳳、喻意吉祥的蝠鼠、消災解禍的辟邪以至造形生動的家飼動物如貓、雞、羊等。藉著展出歷代的陶瓷、玉石、竹木雕塑、玻璃和金屬器物，探索及展示珍禽瑞獸等裝飾題材與造型，如何在中國傳統藝術、生活習俗、宗教儀式、神話傳說，以至思想文化中融合地發展。

3）帖學的世代 ─ 館藏書法作品選

展期：2011年8月19日起

小時候，我們都寫過「習字帖」。原來臨帖學書法這種風氣，在中國已流行了逾千年，自宋代以來，臨帖便成為學習書法的必經之路，至明清時代，帖學更發展至高峰。時至今日，臨帖依然是學習書法的重要課題。

這股持續千年的臨帖學習風氣，主導了中國書法的發展方向，並形成了後世稱為「帖學」的傳統。是次展覽將展出館藏歷代名家書法，計有：趙孟頫、文徵明、董其昌、倪元璐、王鐸、王文治、劉墉、于右任及臺靜農，藉以反映千年以來臨帖風氣對書法發展的深遠影響。展覽其間亦將舉行各種示範及教育活動。

2. 澳門藝術博物館

1）歲月如流－－濠江舊侶詩書畫篆刻展

展期：2011年5月5日 – 2011年7月 31日

陳列室：四樓中國書畫館

出館藏及穗、港、澳收藏家藏1840年至今在澳門生活的已故書畫篆刻家之作品逾百件套，作者包括高劍父、鄧芬、關山月等，作品展現傳統中國藝術在此地自在綻放。

3. 廣東省博物館

吳南生先生捐贈書畫展

展期：2011-7-15 至2011-8-15

陳列室：臨時展廳一

吴南生先生是广东地区著名书画收藏家，自20世纪80年代以来，先后将所藏宋元明清以来书画及自己创作的书法捐赠给广东省博物馆、汕头市博物馆、深圳市博物馆等公库收藏。为弘扬其无私奉献精神，广东省博物馆特地举办此展览。为配合展览，主办方同时出版《吴南生先生捐赠书画集》，除刊载全部展品外，并刊登由广东省博物馆研究员朱万章先生撰写的研究专文。

吴南生先生捐赠书画展主要作品目录

1、 北宋·群峰晴雪图轴，广东省博物馆藏

2、 元人·平沙落雁图卷，广东汕头市博物馆藏

3、 清·崔瑶 枝隐先生小像，纸本设色，136×65厘米，广东省博物馆藏

4、 清·张宜尊等 竹林清趣图，纸本 设色，155×60厘米，广东省博物馆藏

5、 清·梁琛 竹石图册（10开），纸本墨笔，25×35厘米，广东省博物馆藏

6、 清·陆桂山 梅石图扇面，广东省博物馆藏

7、 清·陆桂山 松鼠葡萄图团扇，广东省博物馆藏

8、 清·陆桂山 江天帆影图，广东省博物馆藏

9、 清人·信札册（部分），广东省博物馆藏

10、 清·罗澍 梅雀屏（2件），绢本墨笔，122×34厘米，广东省博物馆藏

11、 清·黄璟 山水图轴，纸本墨笔，119×66厘米，广东省博物馆藏

12、 清·庄起凤 八骏图轴，纸本设色，123×64厘米，广东省博物馆藏

13、 清·峨眉胜境图（陈礼题字），广东省博物馆藏

14、 清·瞿岱 写岱云太守肖像卷，广东省博物馆藏

15、 清·温聿新 骑驴图轴，纸本墨笔，108×52厘米，广东省博物馆藏

16、 清·郦馥 韩信乞食漂母图，纸本设色，176.5×46.5厘米，广东省博物馆藏

17、 近代·黄鹤年、袁培基 人像图轴，纸本设色，106.3×52.5厘米，广东省博物馆藏

18、 近代·蔡公时 行书七言诗轴，广东省博物馆藏

19、 近代·范家驹 行楷书论书轴，纸本，149×78.5厘米，广东省博物馆藏

20、 近代·黄际遇 行书五言诗轴，纸本，144×37.5厘米，广东省博物馆藏

21、 近代·伍蠡甫 山水图轴，广东省博物馆藏

22、 现代·赵朴初、王璜生、黄苗子等《西丽湖图》卷，纸本设色，深圳市博物馆藏

23、 吴南生 行书七言诗轴，1987年，纸本，139×63厘米，广东省博物馆藏

24、 吴南生 行书虞集诗句轴，1987年，纸本，139×62厘米，广东省博物馆藏

25、 吴南生 行书姜白石除夜自石湖归苕溪诗轴，1987年，138×48厘米，广东省博物馆藏

26、 吴南生 行书七言句轴，1993年，纸本，137×66厘米，广东省博物馆藏

27、 吴南生 行书毛泽东词轴，1993年，纸本，143.8×45厘米，广东省博物馆藏

28、 吴南生 行书集杜甫、龚自珍句轴，1993年，纸本，132×61厘米，广东省博物馆藏

29、 吴南生 行书黄庭坚论书轴，1994年，纸本，137×65厘米，广东省博物馆藏

30、 吴南生 行书杨应彬诗横幅，1994年，纸本，61.5×241厘米，广东省博物馆藏

31、 吴南生 行书朱德元帅赠友人诗，1995年，纸本，94×60.5厘米，广东省博物馆藏

32、 吴南生 行书集毛泽东诗句七言联，1996年，176×47厘米，广东省博物馆藏

33、 吴南生 行书二十言联，1999年，纸本，210×46厘米，广东省博物馆藏

34、 吴南生 行书迎澳门回归十一言联，1999年，纸本，164×21厘米，广东省博物馆藏

35、 吴南生 行书集毛泽东词句十一言联，2001年，纸本，170×31厘米，广东省博物馆藏

36、 吴南生 行书十一言联，2002年，纸本，340×39厘米，广东省博物馆藏

37、 吴南生 行书集龚自珍句轴，2009年，纸本，广东省博物馆藏

38、 吴南生 行书袁崇焕边中送别诗轴, 纸本, 152×84厘米, 广东省博物馆藏

39、 吴南生 行书七言联, 纸本, 197×48厘米, 广东省博物馆藏

40、 吴南生 行书毛泽东清平乐词轴,纸本, 179×96厘米, 广东省博物馆藏

41、 吴南生 行书毛泽东浪淘沙北戴河词轴, 纸本, 178×90厘米, 广东省博物馆藏

4.東京國立博物館

特別展「孫文と梅屋庄吉 100年前の中国と日本」7/26(火)～9/4(日)まで　月曜休館(ただし8/15(月)は開館)　本館 特別5室中国の辛亥(しんがい)革命からちょうど100年になる2011年。革 命運動に生涯をささげた孫文と、孫文を支援した実業家の梅屋庄吉、彼らの生きた時代を当時の資料でご覧いただきます。梅屋のひ孫にあたる小阪文乃氏の手元 で大切に保管されたアルバムや関連遺品、当館などが所蔵する古写真など約260点を展示。時代をさかのぼったような世界の情景をお楽しみください。詳細は→ http://www.tnm.jp/modules/r_free_page/index.php?id=1398

2)「空海と密教美術」展

展期： 2011年7月20日（水） ～ 2011年9月25日（日）

陳列室：平成館 特別展示室

密教の教えは奥深く、文筆で表し尽くすことはむずかしいので、図画を用いて教えを広める、という言葉を空海は残しています。そのため真言密教では造形を重視しました。この展覧会では、空海が唐から請来したもの、自筆の書、指導して造った仏像など空海ゆかりの作品と、その思想的な息吹を色濃くとどめる時代の作品を中心に、真言密教の名品の数々をご覧いただきます。

5. 京都國立博物館

1)百獣の楽園─美術にすむ動物たち─平成23年7月16日（土）～8月28日（日）会場：特別展示館ゾウやラクダなどの大型哺乳類、イヌ・ネコ・ウサギといった愛玩動物、色鮮やかな鳥たち、ユーモラスな両生類、虫や魚、迫力の霊獣・・・縄文時代から現代にいたる当館の収蔵品の中から、選りすぐりの名品でお届けする初の動物特集です。制作年代や書画・彫刻・工芸といった表現のちがいを越えて、日本で愛されてきた動物たちの姿をいきいきと映し出します。2) [特別展覧会]細川家の至宝─珠玉の永青文庫コレクション─平成23年10月8日（土）～11月23日（水・祝）会場：特別展示館東京・目白の永青文庫は、旧熊本藩主であった細川家の宝物を護り伝えるために設立されました。歴代当主ゆかりの品々に、近代以降あらたに収集したものが加わり、総数は８万点を超えます。そこから厳選された至宝の数々は、「文武両道」細川家の歴史をまさに体現するものといえるでしょう。所蔵の中国絵画はこの会場だけ出陳されます。3)[特別展覧会]中国近代絵画と日本平成24年1月7日（土）～2月26日（日）会場：特別展示館中国の近代を中心に活躍した呉昌碩、斉白石、高剣父、徐悲鴻等の絵画作品を、当館が近年受贈した須磨コレクションを中心に展示し、その多彩な展開を追います。西洋の近代物質文明の衝撃は、旧態依然とした中国の社会全体を揺さぶり、変革を促しました。近代画壇における改革のリーダーとなった陳師曾、高剣父、徐悲鴻等は日本との関係が深く、中国絵画の近代化に果たした日本の役割は決して小さくありません。この展覧会をとおして近代における日中文化交流の一面をご理解いただければ幸いです。

6. 観峰館

1）「生誕百年・原田観峰の愛した中国書画展」春、夏、秋

展期：平成23年7月至8月

7. 泉屋博古館

中国絵画展

展期：平成23年9月至12月

8. 黒川古文化研究所

花鳥画展

展期：平成23年10月中至11月中

9. 大和文華館

1）中国美術コレクション展

展期：2011年11/19（土）～12/25（日）

大和文華館は国宝「雪中帰牧図」や「白磁蟠龍博山炉」を始めとして、中国美術の名品を数多く所蔵しています。絵画、書蹟、陶磁、漆工、金工などの各分野から、精粋の数々を一堂に展示します。

2）開館50周年記念特別企画展Ⅱ－鉄斎展

展期：2011年6/25（土）～8/7（日）

富岡鉄斎は近代の日本を代表する文人画家です。絵画に表れる精神性を重視し、東洋文人の理想とする生活を実践しました。大和文華館の鉄斎作品の多くは、鉄斎が40年以上、交流を続けた四国・松山の近藤家に、親愛の情を込めて贈られたものです。この展観では、この度、御寄贈いただいた「枯木図屏風」を初公開いたします。

3）書の美術

展期：2012年1/6（金）～2/19（日）

華麗な装飾経典、人柄を偲ばせる高僧の遺墨、流麗な公家の書など、墨蹟には時代や地域によって異なる美意識が現れています。館蔵の書蹟の名品、中世史研究者であった故中村直勝博士蒐集の古文書（双柏文庫）を中心に、書の流れをたどります。

4）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。

10. 澄懐堂美術館

1）中国書画展

展期：平成23年 9月至1２月

2）中国美術コレクション展

展期：平成23年11月底至12月底

11. 九州博物館

1）彫漆　漆に刻む文様の美

展期：平成２３年６月１４日（火）〜７月３１日（日）

陳列室：文化交流展示室　関連第９室

彫漆とは、盆や合子など器物の表面に、漆を何度も塗り重ねて厚い層をつくり、その漆層に文様を彫りあらわす漆芸技法です。漆は、朱、黒、黄、緑といったさまざまな彩漆（いろうるし）を用いますが、日本では、表面に朱（あか）い漆が塗られているものを堆朱（ついしゅ）、黒い漆が塗られているものを堆黒（ついこく）と呼びます。

　本トピック展示では、東京国立博物館および九州国立博物館の所蔵品を中心に、彫漆器の優品、３２件を展示いたします。漆層の美しさ、彫技の素晴らしさをご覧ください。

http://www.kyuhaku.jp/exhibition/exhibition_pre79.html

2）草原の王朝　契丹 - 美しき３人のプリンセス

展期：平成２３年６月１４日（火）〜７月３１日（日）

陳列室：文化交流展示室　関連第９室

九州国立博物館が開館前から６年の歳月をかけて準備を進めてきた大型企画。唐滅亡後の東アジアに輝いた契丹国の精華をご紹介します。２００年の長きにわたり栄えた契丹の名は世界を駆けめぐり、中国を指す英語の「Cathay（キャセイ）」、ロシア語の「Китай（キタイ）」として今も伝えられています。本展は契丹国を生きた３人の女性に焦点をあてました。展示品の７割以上が日本初公開、期待の特別展です。

12. 大阪美術館

中国石造彫刻400年——雕刻時光Sculpting in time

展期：平成２３年(２０１１)８月２日(火)～９月４日(日)

「中国の仏像」というとなんだか堅苦しい難しそうな雰囲気ですが、王朝名がわからなくったって、仏像の名前が読めなくたって大きな問題ではありません。

世界的な中国彫刻コレクションとして知られる本館蔵―山口コレクションを中心に、　　　北魏～唐時代（５～８世紀）につくられた仏教・道教による石刻造像を展示します。

13.  高麗美術館特別企画展

花卉草蟲―花と虫で綴る朝鮮美術展

화훼초충－꽃과 벌레가 꾸미는 조선미술

7月16日（土）～8月28日（日）

 花 卉草虫の図とは、花や草、虫、小動物など日常的でうつろいやすい自然の情景を捉えたものであり、単なる写生ではなく、モチーフに寓意を忍ばせた吉祥画でも あります。このたびは高麗美術館所蔵の草虫図を中心に、朝鮮時代中期から後期の絵画と工芸品。そして、それらと関係性が認められる中国の作品も展示しま す。また「秋草手」と称される青花白磁の名品や螺鈿漆器も一堂に会します。花卉草虫という身近な題材をテーマに朝鮮美術の魅力と東アジアとの関係に迫ります。

歐美

1. Freer Gallery of Art

1）Chinamania: Whistler and the Victorian Craze for Blue-and-White

August 7, 2010–August 7, 2011

Freer Gallery of Art

2）Echoes of the Past: The Buddhist Cave Temples of XiangtangshanFebruary 26–July 31, 2011Arthur M. Sackler Gallery

3）Seasons

December 18–March 4, 2012

Highlighting the permanent collection, this series of exhibition underscores the importance of the seasons in Chinese and Japanese art and culture.

Chinese Landscapes

July 2, 2011–January 8, 2012

View paintings of Chinese flowers native to each season.

Japanese Screens

And July 9, 2011–January 22, 2012

Two rotations highlight screens painted to represent various times of year.

Arts of Japan

February 5–August 7, 2011,

September 3, 2011–March 4, 2012

From springtime cherry blossoms to autumnal scarlet maples, see how seasonal associations permeate Japanese poetry, art, and customs.

4）Shipwrecked: Tang Treasures and Monsoon Winds

Spring 2012

Arthur 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.

5）Family Matters: Portraits from the Qing Court

June 11, 2011–January 16, 2012

Sixteen paintings of emperors, empresses, princes, and princesses represent three generations of the Qing dynasty imperial family, from the early to mid-eighteenth century. Almost evenly divided between images of men and women, the portraits—some nearly life-size—show the royal family members dressed in either the elaborate formal robes required for attendance at court or more casual attire at moments of leisure. The women are generally depicted wearing sumptuous embroidered robes and fabulous jewelry made of gold and pearls or inlaid with dazzling turquoise kingfisher feathers. The men are shown riding horses, relaxing in a garden or boat, meditating quietly with rosary beads, or seated in a formal setting among their favorite possessions.

2. Art Museum, Princeton University

When Men and Mountains Meet: China as Land and People

http://artmuseum.princeton.edu/events/WhenMenandMountainsMeet/

What is the relationship between land and people in China, and how has it changed throughout the ages? Mountains as towering peaks bringing man close to the heavens, or as earthen ranges marking “dragon veins,” serve as the geography in which human beings live and roam. Some mountains are sacred sites; others are barriers that constrain human movement and communication. Some are locations for meditation and solitude or fearsome wilderness fi lled with demons and monsters.

The exhibition explores this relationship and how Chinese experiences and notions of mountains accord with artistic representations and aesthetic perceptions of actual or idealized landscapes. In traditional China, it is said that people lived in balance with the unpredictable forces of nature and the manufactured order of civilization. In this sense, cultural development can be viewed as a struggle to impose order on the world of mountains and streams. The early twentieth century in China was an era of cultural, social, and political turmoil during which the characterization of man’s past balance between land and culture was likened to a verse by the English poet and artist William Blake (1757–1827): “Great things are done when Men and Mountains meet / This is not done by Jostling in the Street.”

Champions of modernization, progress, and reform in China, by contrast, called for a new approach to the land and to the world. They reversed Blake’s line to read: “Great things are done by Jostling in the Street / This is not done when Men and Mountains meet”—expressing that mankind can dominate nature and control its own destiny through science, reason, hard work, and perseverance. The traditional values of a balanced landscape became a casualty of this revolution in culture.

The exhibition will be shown in two areas of the Asian galleries. One area will display traditional paintings of a past where “Men and Mountains Meet.” The expressive brevity of Shitao’s (1642–1707) Echo, for example, engages the viewer in an intimate dialogue with lonely mountains. The artist’s calligraphy quotes a couplet by the noted Song dynasty poet and calligrapher Su Shi (1036–1101): “An echo rebounds with every whisper / Startling, on the empty mountain, the white cloud.” The images in the second area will illustrate the relationship between land and people, where progress is characterized by “Jostling in the Street.” In the photograph of the performance piece To Add One Meter to an Anonymous Mountain (1995), the era of cultural revolution and progress through the conquest of nature is satirically called into question with an image of piled human bodies bonding with a mountaintop. The image recalls the ancient tale “Foolish Old Man Moving Mountains,” which was a model of the triumph of human perseverance over nature for many of China’s twentieth-century leaders, including Sun Yat-sen and Mao Zedong.

3. The Metropolitan Museum of Art

1）Tibetan Arms and Armor from the Permanent Collection

Through fall 2011

1st floor, Arthur Ochs Sulzberger Gallery

This installation presents approximately forty highlights from the Museum's extensive permanent collection of rare and exquisitely decorated armor, weapons, and equestrian equipment from Tibet and related areas of Mongolia and China, dating from the eighth to the twentieth century. Included are several recent acquisitions that have never before been exhibited or published.

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

The collapse of the Ming dynasty (1368–1644) and subsequent conquest of China by semi-nomadic Manchu tribesmen from northeast of the Great Wall comprised some of the most traumatic events in Chinese history. This wrenching era also spurred an enormous outpouring of creative energy as many former Ming subjects turned to the arts to express their loyalty to the noble but doomed cause of Ming restoration and to assert their defiance and moral virtue. Drawn from one of the finest and most comprehensive private assemblages of the art of the Ming-Qing transition, this exhibition will showcase more than sixty landscape paintings and calligraphies that highlight the intensely personal styles created by the leading artists of that time. Particularly noteworthy are the clusters of exceptional works by Huang Daozhou, Hongren, Bada Shanren (Zhu Da), and Shitao.

The Manchu conquest followed several decades of political weakness at the Ming court that had left large portions of the country in chaos. When the capital in Beijing fell to a Chinese bandit army in 1644, Manchu forces poised along the Great Wall routed the rebels but then continued their march southward. After crushing Ming resistance in the city of Yangzhou, which was burned for ten days as an example, the southern capital of Nanjing surrendered, but it took another forty years to suppress various Ming claimants to the throne and to quell armed rebellions in the south.

During this time, many former Ming subjects maintained their loyalty to the fallen regime by refusing service under the Manchu Qing ("pure") dynasty (1644–1911). To endure the often harsh conditions of alien rule, these so-called leftover subjects took psychological as well as physical refuge in nature, and their representations of landscape often project their emotional responses to this radically changed world order. In transforming painting and calligraphy into vehicles for self-expression, they demonstrated a remarkable independence from traditional styles and techniques. For this reason, they have been celebrated as visionary individualists, whose styles have remained influential down to the present day.

In order to provide an appropriate aesthetic and intellectual context for the material, the exhibition will be organized into five thematic or regional groupings: Ming Martyrs; The Yellow Mountain and Nanjing Regional Schools; Guangdong Artists; Monk Painters; and Jiangsu and Zhejiang Artists.

The works featured in the exhibition were collected in the 1950s and 1960s by the late Hong Kong collector Ho Iu-kwong (He Yaoguang, 1907–2006), who named his studio the Chih Lo Lou or "Hall of Supreme Bliss." The collection is now held in a nonprofit public entity administered by Mr. Ho's descendants.

4. HONOLULU ACADEMY

Masterpieces of Landscape Painting from the Forbidden City

Nov. 3, 2011-Jan. 8, 2012

Exquisite 700-year-old brush paintings that changed Chinese painting forever leave China for the first time

http://honoluluacademy.org

HONOLULU, HAWAI'I—After more than a year of planning and organizing with the Palace Museum in Beijing, the Honolulu Academy of Arts presents the collaborative exhibition Masterpieces of Landscape Painting from the Forbidden City.

The landmark exhibition is inspired by the goal of the Asia-Pacific Economic Cooperation Leaders Summit (APEC), being held concurrently in Honolulu Nov. 8-13, to encourage cooperation among the nations of the Pacific region. This art-world example of Asian-Pacific cooperation is co-curated by Dr. Shawn Eichman, Curator of Asian Art at the Academy, and Drs. Li Shi and Fu Dongguang from the Paintings and Calligraphy Department of the Palace Museum. The exhibition includes 56 paintings from the Palace Museum, which has the largest collection of Chinese paintings in the world, and 20 paintings from the renowned collection of the Honolulu Academy of Arts. Together, these works reveal a painting revolution that happened in China during the 13th and 14th centuries, and forever changed the course of the arts, with its influence still felt today.

At the heart of the exhibition is a group of rare, early works by the four most influential artists of the Yuan dynasty (1271-1368), known as "the four Masters of Yuan Dynasty Painting"— Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng.  

These works have never before been allowed to travel outside China, and are not regularly displayed in the Palace Museum. Similarly, this will be the first time that any of the exhibition's later Ming (1368-1644) and Qing (1644-1911) dynasty paintings from the Palace Museum will be included in an international exhibition.

The Four Masters are among the most revered artists in Chinese history. They are paragons of the scholar-amateur or "literati" style that characterizes the highest ideals of Chinese painting, and represents a quintessential aspect of Chinese culture. Masterpieces of Landscape Painting From the Forbidden City showcases paintings by these iconic artists and explores their influence on later generations.

The Yuan dynasty marks the first time China was invaded and ruled by a foreign power—the Mongols. (The Manchus later also took over the country.) The political and social changes of this tumultuous time led to the Four Masters' groundbreaking artistic vision. They developed a new way of seeing the natural world, and their artistic expression is in many ways reminiscent of Impressionism, although it precedes the Impressionists by five centuries. Free of the restrictions of court patronage, Chinese artists at the time were no longer dominated by academic tradition and could put more of themselves into their work.

演講:

1. 第40回奈良國立博物館夏季講座「玄奘三蔵とシルクロード」

時間：2011年8月23至25日（週二至週四）

地點：奈良県文化会館国際ホール（奈良県奈良市登大路町6-2）

內容簡介 議程

8月23日

10:50-12:00

玄奘三蔵はるかなる旅――唯識思想を求めて（吉村誠，駒澤大學佛教學部准教授）

13:00-14:10

奈良時代における大般若経（玄奘訳）の受容――藤田美術館．薬師寺ほか所蔵の大般若経（魚養経）を中心に（野尻忠，奈良國立博物館學藝部情報サービス室長）

14:20-15:30

日本中世における玄奘の位置（市川浩史，群馬縣立女子大學文學部教授）

8月24日

9:30-10:40

玄奘の将来図像と東アジアの仏教美術（稻本泰生，奈良國立博物館學藝部企畫室長）

10:50-12:00

玄奘がみたインドの仏（小泉惠英，九州國立博物館學藝部企畫課長）

13:00-14:10

玄奘の見た未知なる仏教世界――中央アジアを中心に（入澤崇，龍谷大學文學部教授）

14:20-15:30

玄奘取経伝説と明恵上人（磯部彰，東北大學東北アジア研究センター教授）

8月25日

9:30-10:40

玄奘の画像と伝記絵（暫訂）（米倉迪夫，元上智大學國際教養學部教授）

憧憬の天竺――玄奘三蔵絵の世（谷口耕生，奈良國立博物館學藝部保存修理指導室長）

相關網址 ：http://www.narahaku.go.jp/events/2011event/2011kakikouza.html

研討會：

1. 考古學與永續發展國際學術研討會

時間：2011.08.16（二）～2011.08.17（三）

地點：中央研究院歷史語言研究所七樓 704 會議室

2011.08.16（二）

時間

場次

主持人

主講人 / 發表題

發表時間

9：00－9：30

報到

9：30－9：40

人社中心主任開幕致詞

9：40－10：40

專題演講

臧振華

Patrick V. Kirch（美國加州大學柏克萊分校人類學系教授）

Hawai'i as a Model System for Long-Term Agricultural Sustainability

60 分鐘

10：40－11：00

Coffee Break

11：00－11：20

場次一

唐際根

劉益昌（中央研究院歷史語言研究所研究員/人社中心考古學研究專題中心合聘研究員）

從 2009 年莫拉克風災災區史前遺址分布談聚落選擇

20 分鐘

11：20－11：50

夏正楷（北京大學城市環境學系教授）

華夏文明起源與史前大洪水

30 分鐘

11：50－12：10

魏國彥（國立臺灣大學地質科學系暨研究所教授）

晚唐氣候巨變造成絲路的沒落：新疆博斯騰湖岩芯地球化學與微體化石證據

20 分鐘

12：10－12：40

綜合討論

12：40－14：00

Lunch Time

14：00－14：20

場次二

夏正楷

臧振華（中央研究院歷史語言研究所研究員/人社中心考古學研究專題中心執行長）

臺灣新石器時代早期居民對環境的認知與資源利用

20 分鐘

14：20－14：40

李匡悌（中央研究院歷史語言研究所副研究員）

Changes induced by human exploitation in prehistoric shellfish populatio

A case study from OLP II site excavation

20 分鐘

14：40－15：00

趙金勇（中央研究院歷史語言研究所助研究員/人社中心考古學研究專題中心合聘助研究員）

The appearance and persistence of defensive landscapes in the late prehistoric East Timor:Evolution of natural and social dynamics

20 分鐘

15：00－15：30

綜合討論

15：30－15：50

Coffee Break

15：50－16：20

場次三

李匡悌

Tim Kohler（美國華盛頓州大學人類學系教授）

Perspectives on Sustainability from the Prehispanic Archaeology of

Northern Pueblo Societies in the US Southwest

30 分鐘

16：20－16：50

Jon Erlandson（美國奧類岡大學人類學系教授）

Archaeology, fisheries, and sustainability: lessons from a deep history of

human seafaring and marine fishing

30 分鐘

16：50－17：10

綜合討論

18：00－20：30

晚宴（中央研究院學術活動中心中餐廳）

2011.08.17（三）

時間

場次

主持人

主講人 / 發表題

發表時間

9：30－10：00

報到

10：00－10：30

場次四

陳光祖

Paul E. Minnis（美國奧克拉荷馬大學人類學系教授）

Utilitarian Archaeology: “Mining” the Past for the Future

30 分鐘

10：30－11：00

唐際根（中國社科院考古研究所研究員）

中國的城鎮化與“應用考古學”

30 分鐘

11：00－11：30

Margaret Nelson（美國亞利桑納州立大學人類演化和社會演變學院教授）Long-term Vulnerability and Resilience: Three examples from archaeological study in the southwestern US and northern Mexico

30 分鐘

11：30－12：00

綜合討論

12：00－13：30

Lunch Time

13：30－14：00

場次五

劉益昌

Neal Ferris（加拿大西安大略大學人類學系教授）

Towards as Sustainable Archaeology in Applied Archaeological Heritage Management

30 分鐘

14：00－14：20

屈慧麗（國立自然科學博物館人類學組考古學門助理研究員）

永續的教育及觀光資源－考古遺址學習之旅

20 分鐘

14：20－14：40

邱斯嘉（中央研究院人社中心考古學專題中心副研究員）

Digital preservation of the past: the establishment of the online database for the study of Lapita pottery

20 分鐘

14：40－15：10

綜合討論

15：10－15：30

Coffee Break

15：30－16：00

綜合座談暨閉幕

2 ."Bon, Shangshung, and Early Tibet"

School of Oriental and African Studies

University of London

9-10 September 2011

The Bon religion of Tibet sees itself as the region's pre-Buddhist religion, originating from the kingdom of Shangshung in what is now western Tibet. The earliest Tibetan documents preserved at Dunhuang mention both Bon and Shangshung, but these documents can be difficult to date and even harder to interpret. The methodologies of archaeology, genetics, and historical linguistics have the potential to shed light on Tibet's prehistory, but they have so far been little employed.

In 1950 the School of Oriental and African Studies became the first institution of higher education in the United Kingdom to host a permanent academic position in Tibetan studies. In 1960, when Bonpo monks came to SOAS under the auspices of a Rockefeller grant, SOAS became the first institution of higher education in the West to prominently engage in research on the Bon religion. Bringing together 25 of the world's most prominent researchers of the Bon religion and early Tibet, this conference will honour the tradition of Tibetan and Bon studies at SOAS, and celebrate the founding in 2009 of the London Shangshung Institute for Tibetan Studies.

- Mark Aldenderfer (University of California, Merced), "Variation in mortuary practice in pre-Buddhist Tibet and the High Himalayas"

- Dmitry Ermakov (Independent Scholar), "Bon as a multifaceted phenomenon – looking beyond Tibet to the cultural and religious traditions of Eurasia"

- Amy Heller (Centre de recherche sur les civilisations de l'asie orientale, CNRS Paris), "On silver and gold vessels from Tibet and their inscriptions"

3. Chinese Art: Translation, Adaptation and Modalities University of Edinburgh , 27-28 October 2011This conference on Chinese art and translation is inspired by the radically new journal Art in Translation (AIT) and its dual mission,which consists in challenging the boundaries of conventional art history as practiced in > Europe and North America , and stimulating thinking about the problems and paradoxes of translation within the art historical discourse.27 October, 5.15pmKey note address: Roderick Whitfield, University of London SOAS Art in Translation: When Buddhism Came to China28 October, 9.30am – 6.00pmSession 1: Why Translate?• Puay-Peng Ho, The Chinese University of Hong Kong : Mind the Gap: Will More Translated Works in the Field of Chinese Architectural History Help?• Michael Nylan, University of California-Berkeley : Heritage Issues in Translation: Convergent Preoccupations in Chinese and Western Scholarship• Chia-Ling Yang, University of Edinburgh : Archaic Art and Translated Modernity in ChinaSession 2: Exotic China , Exotic West

• Youngsook Pak, University of London SOAS: Chaekkori – Chaekkori – aChos Conundrum –• Yuka Kadoi, Art Institute of Chicago : China in Islamic Art: Centuries of Translations• Alain George, University of Edinburgh : Chinese Art and the Islamic World: An Experiment in Longue Durée • Hsueh-Man Shen , New York University: ‘Dragon’ or ‘Long’ in Chinese ArtFor a detailed programme and abstracts, see www.artintranslation.org (see ‘events’)Fees: £30 per delegate (£15 concessions) include reception (day 1), tea/coffee, lunch (day 2).Registration online: via www.artintranslation.org (see ‘events’)Venues: School of Arts , Culture and Environment, 20 Chambers Street ,Edinburgh EH1 1JZ (day 1) Teviot Row, 13 Bristo Square , Edinburgh EH8 9AJ (day 2)

網頁

1. Films on internet: lectures by Professor James Cahill

To: All my Correspondents—Friends, Colleagues, and People I Don’t Even Know (I’m copying others’ address lists to give this message the widest possible circulation):

This is James Cahill sending you what I believe to be an extremely important announcement: please read on. I am at last able to announce the availability for free viewing on the web of the project to which I have devoted much of my time and energies over the past two years: a series of video-recorded lectures on early Chinese painting, especially landscape, from its beginnings to the end of the Song dynasty. Titled A Pure and Remote View: Visualizing Early Chinese Landscape Painting, these comprise twelve lectures, some in several parts, running altogether to some thirty-five hours (with Postludes, more like forty) and displaying more than two thousand images, mostly the wholes and details of Chinese paintings. The first seven lectures have now been posted on the web (see below) for free viewing. I hope you will find time to watch some of this--and, if you find it worthwhile, will tell your students and friends about it. 

Many of you know that I have in recent years gone about publicly regretting not having written the book on early Chinese painting that I deeply believe we need: a strongly visual, old-style history of a kind that my younger colleagues mostly are disinclined to undertake--because, their Theory tells them, no serious scholar writes “narrative art history” any more. I was one of those who carried out, in the 1960s-70s, large-scale photographing and cataloguing projects that made us in principle able to write such a history--but nobody wrote it. I lamented that situation in a much-quoted metaphor as being “as if we had abandoned the practice of architecture before we had built our city.” I am too old, and no longer have access to the kind of facilities and help I would need, to write the book. But this video series, undertaken with the expert collaboration of Rand Chatterjee of Chatterbox Films, has proven to have strengths of a kind that no book could offer. 

How important is the subject, and the absence of any comprehensive art-historical account of it? In the opening lecture I quote, and amend slightly, words of the late Sir Ernst Gombrich about how “only twice on this globe, , , have artists striven systematically, through a succession of generations, step by step to approximate their images to the visible world and achieve likenesses that might deceive the eye." The two traditions that really fit this pattern, I argue (and convinced Gombrich of this during several days we spent together late in his life), and the only two in all of world art that do fit it (leaving aside one of Gombrich’s and adding one), are: European painting of the Renaissance-and-after, and Chinese painting from its beginnings through Song. Histories of the former would fill a library; for the latter, there are none. Not one truly comprehensive and adequate Gombrich-style history.

 Now: How can you access these lectures on the web?  You will have two choices.  The Institute of East Asian Studies (IEAS) at the University of California, Berkeley, our official sponsor, has recently redesigned their web site and is incorporating on it our video lecture series, as the lectures are finished: the first seven, through the Five Dynasties period, will be posted first, with others to follow soon.  Each lecture appears in a selectable pop-up window in a high definition format 1280 pixels wide by 720 high, enough to fill your screen with good color and clarity. Several thousand digital images of paintings, including lots of close-up details, will be included in the series, animated through the skills of Rand Chatterjee.  These videos are linked from YouTube University , are in Flash video format, and can be seen from this page:

http://ieas.berkeley.edu/publications/aparv.html

For now, however (as of 3/28/11), the IEAS website still needs some reworking, which cannot be done for some days. So I am making the lectures available in advance, especially to those who plan to attend the AAS meetings in Honolulu and our session there (see below), on my own website:

http://www.jamescahill.info.  

In future, this will send you to the IEAS website; for now and for a limited time, it opens the first seven lectures to you for interim viewing.

A lot else will also be newly accessible on my new website; those of you who are interested are advised to watch that site, and read my blogs. “Lecture handouts,” outline texts of what I say, along with identifications of all the works shown, will also be posted there; more carefully edited versions of the same, with Chinese characters for those who want them, will be accessible on the IEAS website.

We also intend to make the lectures available on sets of disks. The lectures were produced in the highest high definition video format available, a full 1920 by 1080 pixels, over twice the resolution of the versions released on the web.  We plan to release the entire series on both BluRay and old-style DVDs in boxed sets; these will be distributed by IEAS at Berkeley and sold inexpensively, since this is an entirely non-profit project. The 1080P version will not only be in the best possible video format, it will also have chapter titles to help find and identify each painting.  The disks will also make all of the images shown available as still images in resolutions as high as 15 megapixels; this resource will greatly facilitate new research and interpretation of Chinese painting through use of this unique and comprehensive collection of digital images. Please send word to Kate Chouta at IEAS, ieaseditor@berkeley.edu, if you might be interested in ordering this series on high definition BluRay disks.  Please also let her know if standard definition DVDs would be sufficient for your needs, and we will endeavor to make these available as well.

I welcome responses to this message, although I won’t be able to respond individually to more than a few. Let me close by expressing again the hope that you will find the video-recorded lectures interesting and educational, and that you will not only watch them but also recommend them to friends and students.

Yours, James Cahill

2. 關西書畫研究會

http://www.kansai-chinese-art.net/