DOCSLIB.ORG

Visual Knowledge Guided Intelligent Generation of Chinese Seal Carving∗

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Visual Knowledge Guided Intelligent Generation of Chinese Seal Carving∗ Zhang et al. / Front Inform Technol Electron Eng in press 1 Frontiers of Information Technology & Electronic Engineering www.jzus.zju.edu.cn; engineering.cae.cn; www.springerlink.com ISSN 2095-9184 (print); ISSN 2095-9230 (online) E-mail: [email protected] Visual knowledge guided intelligent generation of Chinese seal carving∗ Kejun ZHANG†1, Rui ZHANG†1, Yehang YIN1, Yifei LI2, Wenqi WU1, Lingyun SUN1, Fei WU1, Huanghuang DENG1, Yunhe PAN†‡1 1State Key Lab of CAD & CG, Zhejiang University, Hangzhou 310027, China 2School of software Technology, Zhejiang University, Hangzhou 310027, China †E-mail: [email protected]; [email protected]; [email protected] Received Feb. 22, 2021; Revision accepted June 20, 2021; Crosschecked Abstract: We digitally reproduced the process of resource collaboration, design creation, and visual presentation of Chinese seal-carving art. We developed an intelligent seal-carving art-generation system (Zhejiang University Intelligent Seal-Carving System: http://www.next.zju.edu.cn/seal/; The website of the seal-carving search and layout system: http://www.next.zju.edu.cn/seal/search_app/) to solve the difficulties using a visual knowledge- guided computational art approach. The knowledge base in this study is the Qiushi seal-carving database, which consists of open datasets of images of seal characters and seal stamps. We proposed a seal character-generation method based on visual knowledge and guided by the database and expertise. Further, to create the layout of the seal, we proposed a deformation algorithm to adjust the seal characters and calculate layout parameters from the database and knowledge to achieve an intelligent structure. Experiments show that this method and system can effectively solve the difficulties in the generation of seal-carving. Our work provides theoretical and applied references for the rebirth and innovation of seal-carving art. Key words: Seal-carving; Intelligentunedited generation; Deep learning; Parametric modeling; Computational art https://doi.org/10.1631/FITEE.2100094 CLC number: 1 Introduction became a popular form of art among the literati (Gu, 2013). Seal-carving is the art of engraving Chinese The art of seal-carving adheres to classical con- characters on seals, and it has a 3000-year history. ventions, and the seal script is the major script style The seal was initially used as a practical tool that used for seal-carving. The correctness of the char- performs credibility authentication in political and acters’ orthography is traditionally an important as- economic activities. The discovery and populariza- pect of the seal-carving technique (Li, 2009), and the tion of ophicalcite enabled the literati to self-seal and commonly used seal script typologies are very differ- carve. Due to the rise of seals for signing on art col- ent from modern Chinese characters. Chinese char- lections, the function of seal-carving began to change acters’ structural and stroke features have changed from practical to artistic appreciation. Over time, it so much that the seal script can no longer be con- ‡ Corresponding author sidered a style of modern Chinese characters (Wang, * Project supported by the National Key Research and 1980). Seal script information processing technol- Development Program of China (No. 2017YFB1402104) and the Fundamental Research Funds for the Central Universities ogy is slowly evolving, including industry standards (No. 2020QNA5023) for encoding (Unicode Consortium, 2020), recogni- ORCID: Kejun ZHANG, https://orcid.org/0000-0002-0778- 2303 tion, and glyph production. Seal script, on the other c Zhejiang University Press 2021 hand, can still be seen in historical locations, cultural 2 Zhang et al. / Front Inform Technol Electron Eng in press artifacts, and antiques, as well as in books and cal- of a standard script. The database of seal charac- ligraphy works (Qiu et al., 2000). Previous studies ters and seal stamps offers essential visual knowl- of Chinese seal-carving art have primarily focused edge, which guides the generation of seal characters on the identification and authentication of the en- and the layout of a seal. Fig. 1 depicts the flow chart tire seal (Fan and Tsai, 1984; Chen, 1995, 1996; Su, of the intelligent age of seal-carving. Our study can 2007a,b), but there have been few studies on the also be applied to other forms of art and design of production of seal characters. Compared with Chi- Chinese characters, thereby serving the cultural and nese character calligraphy and other art forms, seal- creative industry as well as inheriting and promoting carving art remains time-consuming, economically the traditional culture. costly, and laborious. Therefore, exploring the intel- ligent generation of seal-carving art could improve 2 Related studies the efficiency and quality of seal-carving art creation and assist in reviving this ancient art form. It would 2.1 Generation of characters also lower the cost of seal-carving, enhance the qual- ity of seal products, and make seal-carving art more 2.1.1 Based on interaction accessible to people. Most of the early studies conducted on charac- The intelligent generation of seal-carving art is ter generation were based on interactive methods. complex and challenging, requiring multiple disci- Artists undertook this type of study, and comput- plines across computer science, such as data science, ers offer assistance in improving human design and computer vision, computer graphics, and human- artistic creation efficiency (Zhang, 2019). According computer interaction. However, “visual knowledge” to the study content, it can be roughly divided into (Pan, 2019), as a new form of knowledge represen- two types: Chinese calligraphy generation and font tation, can guide many tasks on computer vision, design. including the generation of seal-carving. This paper Researchers mainly study the digital modeling proposes a method to generate a seal with a specific of calligraphy tools for Chinese calligraphy genera- style and appropriate layoutunedited from a simple format tion, including virtual brush modeling and ink dif- Final seal Generation of Layout of seal seal characters Layout of standard script Guide Guide 000 1-001 .png 000 1-002 .png 000 1-003 .png 000 1-011 .png 000 1-012 .png 000 1-015 .png 03-005-1.png 03-005-2.png 03-005-3.png 03-005-4.png 000 5-002 .png 000 5-003 .png 000 5-004 .png 000 2-004 .png 000 2-006 .png 000 2-007 .png 000 5-001 .png 000 5-011 .png 000 5-014 .png 000 5-019 .png 000 6-001 .png 000 8-003 .png 03-006-2.png 03-006-3.png 03-006-4.png 03-007-3.png Seal characters Seal stamps Database and knowledge Fig. 1 Flow chart for intelligent generation of Chinese seal-carving Zhang et al. / Front Inform Technol Electron Eng in press 3 fusion simulation. Wang and Pang (1986) proposed professional knowledge and still requires a lot of user a computer-based Chinese calligraphy system. They work. simulated writing brushes, built a library of strokes, and used human-computer interaction to combine 2.1.2 Based on graphics characters. In the same year, Strassmann (1986) Glyph generation based on graphical methods studied virtual brush modeling. The author di- generally starts at the font component level (such vided the functions of the brush-writing process into as radicals, strokes, and skeletons). Then, it au- the brush, stroke, dip, and paper and parameter- tomatically generates glyphs through various tech- ized them separately. After that, more researchers niques, such as parameterized representation, com- adopted various methods of modeling. For virtual ponent mapping, and statistical models (Zhang, brush modeling, some researchers start from the con- 2019). Moreover, the objects of glyph generation are tact shape of the brush and paper and employ the mostly modern characters, such as regular, cursive, scattered point set (Yu et al., 1996), ellipse (Wong and running scripts, and even personalized hand- and Ip, 2000), raindrop (Mi et al., 2002; Bi and Tang, writing. Unfortunately, there are very few studies of 2003), etc. The user specifies the crucial locations glyph generation of seal script. for the brush’s movement trajectory to make calli- Xu (2007) and Xu et al. (2009) introduced a graphic characters; however, the parameter settings calligraphy creation method based on analogical and are extremely complex. Xu et al. (2002) and Gir- integrated reasoning. A matching model based on shick (2004) developed a generation model based on strokes was created using a hierarchical parameter the movement of the mouse. (Lu et al., 2013) pro- representation of characters. Furthermore, the spe- posed a data-driven calligraphy and painting system, cific process disassembles the characters to be gen- RealBrush, which can synthesize more colorful and erated and obtains a new character; the matching texture effects. Some researchers also applied me- model chooses similar strokes to match the corre- chanical methods to model brushes from a physi- sponding topological structure. Shi et al. (2014) cal viewpoint (Lee, 1999; Saito and Nakajima, 1999; modeled Chinese character components, constructed Baxter et al., 2001)). In addition, Chu and Chiew- a dynamic Bayes model, and adjusted character gen- Lan Tai (2004) and Chu and Tai (2005) installed eration by applying the condition equation. Based sensors on the brush to simulate the movement of on texture mapping, Yu and Peng (2005) proposed the brush in three-dimensional space. For the ink a method for generating cursive script, and Markov diffusion effect, Guo and Kuniiunedited (1991) considered interpolation was used for texture synthesis. Dong the paper fiber structure to simulate the dynamic et al. (2008) considered a calligraphy simulation diffusion of ink, and Lee (1999) proposed a Chinese based on statistical models. Li et al. (2014) proposed art paper model using a network structure and ink a WF-histogram to measure a characterąŕs topolog- diffusion algorithm.
Load more

Recommended publications
  • Exhibitions (Paola Billi & Nicola Piccioli)
    Exhibitions (Paola Billi & Nicola Piccioli) Welcome the Spirits and bring Happiness of Thousands of Families Worldwide Beijing World Art Museum at the China Millennium Monument, Beijing, China 2021. International Calligraphy Exhibition on Invitation to commemorate the 120th anniversary of the discovery of the Library Cave in Mogao caves, Dunhuang. Dunhuang Art Museum, Dunhaung, Cina 2020. “Ahead with Republic”. International collection of fomous calligraphers. Organizzata in occasione del 70° anniversario della Fondazione della Repubblica Popolare Cinese. Shanghai, Cina 2019. 23th International Calligraphy Art and Culture Great Exhibition Seoul, Korea - Beijing, China 2019 International Calligraphy Biennale. International Symposium on Kang Youwei’s Calligraphic Study & the First Qingdao. Qingdao, China 2018 The 13th International Calligraphy Exchange Singapore Exhibition Singapore 2018 International Exhibition and Competition of the Calligraphy and Painting Art of the Yanyuan Cup, Beida University of Beigjing Beida University, Beijing, China 2018 First International Chinese Calligraphy Building Exhibition Hefei, China 2018 22th International Calligraphy Art and Culture Great Exhibition Seoul, Korea - Beijing, China 2018 ⼥ (onna) Art Exhibition Borgo Pignano Art Gallery, Palazzo dei Priori Volterra, Italy 2018 24th International High School Shodo Exhibition Osaka City Museum, Osaka, Japan 2018 Arte Calligrafica Danza del pennello, Eco dell'inchiostro che risuona Consolato Generale Coreano, Milano, Italy 2018 Arte Calligrafica Danza del
    [Show full text]
  • Towards Chinese Calligraphy Zhuzhong Qian
    Macalester International Volume 18 Chinese Worlds: Multiple Temporalities Article 12 and Transformations Spring 2007 Towards Chinese Calligraphy Zhuzhong Qian Desheng Fang Follow this and additional works at: http://digitalcommons.macalester.edu/macintl Recommended Citation Qian, Zhuzhong and Fang, Desheng (2007) "Towards Chinese Calligraphy," Macalester International: Vol. 18, Article 12. Available at: http://digitalcommons.macalester.edu/macintl/vol18/iss1/12 This Article is brought to you for free and open access by the Institute for Global Citizenship at DigitalCommons@Macalester College. It has been accepted for inclusion in Macalester International by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. Towards Chinese Calligraphy Qian Zhuzhong and Fang Desheng I. History of Chinese Calligraphy: A Brief Overview Chinese calligraphy, like script itself, began with hieroglyphs and, over time, has developed various styles and schools, constituting an important part of the national cultural heritage. Chinese scripts are generally divided into five categories: Seal script, Clerical (or Official) script, Regular script, Running script, and Cursive script. What follows is a brief introduction of the evolution of Chinese calligraphy. A. From Prehistory to Xia Dynasty (ca. 16 century B.C.) The art of calligraphy began with the creation of Chinese characters. Without modern technology in ancient times, “Sound couldn’t travel to another place and couldn’t remain, so writings came into being to act as the track of meaning and sound.”1 However, instead of characters, the first calligraphy works were picture-like symbols. These symbols first appeared on ceramic vessels and only showed ambiguous con- cepts without clear meanings.
    [Show full text]
  • Impressions and Expressions
    IMPRESSIONS AND EXPRESSIONS: THE ENTHRALLING ART OF CHINESE SEALS by Mike Harty, Although the seal is small, no longer than your finger and no larger that two square inches, it contains development and structure and, in its sweep and profundity, can be as satisfying as a fine work of literary art. ‘Lidai yinxue lunwenxuan’ A Treatise on the Study of Seals from Past Dynasties Han Tianheng born 1940 Seals exist in almost every civilisation. They have been used principally as a mark of power, to give authority to orders or directions from kings and emperors, governors and generals. They are often things of great beauty. The royal seals of Egypt and of Mesopotamia, for example, are featured in major museums and private collections, not only for their historical significance, but also for their intrinsic artistic value. In China, while it is suggested in various texts that seals have been used by people of power since very early times, the oldest authenticated seals date only from the Warring States period (480 — 221 BC); although references to seal impressions can be found in literature dating back to the Spring and Autumn period (722 — 481 BC). THE BAGUA The vast majority of seals, because they relate to names, involve writing; which means the development of seals is intimately aligned with the development of writing. The earliest Chinese writing dates back to the origins of Chinese culture. The Chinese believe that their writing began with the development in the third millennium BC, of the Bagua, the eight trigrams of the Yijing or Book of Changes.
    [Show full text]
  • Seal Carving Collection of K S Lo Gallery
    Seal Carving Collection of The K. S. Lo Gallery An Introduction to Seal Carving – Worksheet Welcome to the Exhibition of The K. S. Lo Gallery “Calligraphy on Stone: Seal Carving in Hong Kong”. You can appreciate the art of seal carving and know more about the history of seal carving in Hong Kong here. Let’s have fun in the world of seal carving together! 1. An Introduction to Seal Carving Over the dynasties in Imperial China, seals were used for official and private purposes. There were several types of seals, as distinguished by their inscriptions: name seals, collector’s seals, archaic verse seals, pictorial seals etc. Pictorial seals were also known as graphic seals. In ancient times, some of these pictorial seals combined picture and text that complemented each other. Do you know what they are? Please match each seal to its corresponding type. a. b. c. d. name seal collector’s seal archaic verse seals pictorial seal (1) Shapes Seals come in many different shapes: square, rectangular, round and oval, irregular as well as graphic icons like peach, fish, heart, gourd and bird. Can you differentiate which shape for the following seals? Please write the correct answer under each example. (2) Intaglio carving and Relief carving There are two methods of seal carving, namely, intaglio carving and relief carving. In intaglio carving, the strokes of characters are incised to create white text against a red background. This method is also called incised carving. In relief carving, the strokes of characters are in relief as the blank parts are incised.
    [Show full text]
  • Power, Identity and Antiquarian Approaches in Modern Chinese Art
    Power, identity and antiquarian approaches in modern Chinese art Chia-Ling Yang Within China, nationalistic sentiments notably inhibit objective analysis of Sino- Japanese and Sino-Western cultural exchanges during the end of the Qing dynasty and throughout the Republican period: the fact that China was occupied by external and internal powers, including foreign countries and Chinese warlords, ensured that China at this time was not governed or united by one political body. The contemporary concept of ‘China’ as ‘one nation’ has been subject to debate, and as such, it is also difficult to define what the term ‘Chinese painting’ means.1 The term, guohua 國畫 or maobihua 毛筆畫 (brush painting) has traditionally been translated as ‘Chinese national painting’. 2 While investigating the formation of the concept of guohua, one might question what guo 國 actually means in the context of guohua. It could refer to ‘Nationalist painting’ as in the Nationalist Party, Guomindang 國民黨, which was in power in early 20th century China. It could also be translated as ‘Republican painting’, named after minguo 民國 (Republic of China). These political sentiments had a direct impact on guoxue 國學 (National Learning) and guocui 國粹 (National Essence), textual evidence and antiquarian studies on the development of Chinese history and art history. With great concern over the direction that modern Chinese painting should take, many prolific artists and intellectuals sought inspiration from jinshixue 金石學 (metal and stone studies/epigraphy) as a way to revitalise the Chinese
    [Show full text]
  • Highlights of the Development of Seal Carving in Hong Kong Over the Past 150 Years
    Highlights of the Development of Seal Carving in Hong Kong over the Past 150 Years LAU Ho-man Samantha Hong Kong has played an integral role in the development of the Lingnan seal community for a significant amount of time. As early as the 1930s and 1940s, the number of migrant scholars, epigraphers (jinshi jia) and seal carvers in Hong Kong dramatically increased as a result of the ongoing civil war in Mainland China. These artisans and scholars often either stayed in Hong Kong briefly, settled permanently, or regularly travelled between Guangdong and Hong Kong. Over the course of several decades, countless seal carvers, scholars, influential figures and activities were involved in the burgeoning seal community. Through teaching, cultural gatherings, publishing, organising exhibitions and establishing societies, these participants laid the cornerstone for the development of the Hong Kong seal community. Despite this, there has not yet been any significant research regarding the history of seal carving in Hong Kong – only a very small number of scholars have conducted research in this area, and only several articles have been written about it in the past century. Tang Cheong-shing, a contemporary seal carver, first wrote “Xianggang zhuanke fazhan gaikuang (An overview of the development of seal carving in Hong Kong)” in 1988 and the content of this article has been more or less repeated in his subsequent writings, including “Xianggang zhuanke fazhan shi (The history of seal carving development in Hong Kong)” (1989) and “Seal Carving in Hong Kong – Retrospection” (1995), which provided an overview of the development of Hong Kong seal carving between the 1940s and 1980s.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction k dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversee materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6* x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 WU CHANGSHI AND THE SHANGHAI ART WORLD IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Kuiyi Shen, M.A. ***** The Ohio State University 2000 Dissertation Committee: Approved by Professor John C.
    [Show full text]
  • TIMELINE – 1800S in China
    Joslyn Art Museum TIMELINE – 1800s in China China, 1800-1900 A.D. Overview After the reign of Qianlong (r. 1736–95), China encounters a succession of economic and political crises that shake the foundation of the empire. Around the mid-nineteenth century, foreign powers force open several ports along the Chinese coast for international trade. Shanghai flourishes and becomes a commercial magnet for artists and craftsmen from all over the country. In the urban centers especially, a growing demand for household and personal items fosters diverse styles in wood carving, textiles, painting, and ceramics. Auspicious symbols, folk deities, and literary characters feature regularly in aesthetic objects for popular consumption. A noted development of the nineteenth century is the full blossoming of the Stele School. Using archaic inscriptions on stones, seals, and bronze vessels as references, exponents of the school create new calligraphic expressions that emphasize lucid structure and raw strength. These works offer an aesthetic alternative to the fluid elegance associated with the canonical brushed-calligraphy of Wang Xizhi, Zhao Mengfu, and Dong Qichang. Key Events • 1816–34 Britain's Lord Amherst and Lord Napier, like their predecessor Lord Macartney, fail to obtain China's consent to open its markets for international trade. • ca. 1821–1911 Between the reign of Emperor Daoguang (r. 1821–50) and the end of the Qing dynasty, new discoveries and publications of stone and bronze artifacts inspire an unprecedented variety of styles within the Stele School. Representative masters of this period include Wu Rangzhi (1799–1870), Xu Sangeng (1826– 1890), and Zhao Zhiqian (1829–1884).
    [Show full text]
  • Writing an Image: Chinese Literati Art
    Writing an Image: Chinese Literati Art Shuishan Yu Oakland University Art Gallery Rochester, Michigan Cover image: Chen Nian (Banding, 1876-1970), Plum Blossoms, 1941; ink on paper, 38 x 12 ½ inches, hanging scroll; Gift of Professor and Mrs. Amitendranath Tagore, Collection of Oakland University Writing an Image: Chinese Literati Art Shuishan Yu September 11-November 22, 2009 Oakland University Art Gallery Writing an Image: Chinese Literati Art Introduction Literati art, or Weren Yishu 文人藝術, is a Chinese art form nurtured and promoted by scholars. The creators of literati art do not consider themselves as specialized artists, but first and foremost as human beings completed by Confucian moral cultivation and elevated by Daoist integration with nature. Literati art thus emphasizes art as a way of life that, in turn, nurtures the cultivation and moral character of the practitioner. The learning and creative process of art are just as essential as the final product. The four noble arts of literati: calligraphy, painting, guqin (a seven-stringed musical instrument with a rich history dating back 5,000 years), and weiqi (an ancient Chinese board game), or qin qi shu hua 琴棋書畫 in Chinese, are inseparable and equally important in cultivating ideal personality and understanding the supreme truth Dao 道. Literati art thus casts a different look at amateurism, which does not mean unprofessional but rather anti-professional. For the literati artists, great art is created by pure enjoyment and a sincere motivation to share that pleasure. The professional divisions are deliberately abandoned. Built on common philosophical grounds, and sharing common terminologies and ideologies, art, music, literature, theatre, and architecture are often mutually inclusive in the literati tradition, creating an inter-disciplinary framework that provides unique perspectives for the understanding and conceiving of them all.
    [Show full text]
  • Introduction to the History, Use and Function of Chinese Book Collectors’ Seals*
    FÖLSTER | INTRODUCTION TO CHINESE BOOK COLLECTORS‘ SEALS 25 Article Introduction to the History, Use and Function of Chinese Book Collectors’ Seals* Max Jakob Fölster | Hamburg Many old Chinese books (both printed ones and manuscripts) other hand, has a very long tradition of using seals to mark bear red stamps on them (see figs. 1 and 2, for example). books and other collectibles, especially paintings and pieces These are imprints of what is conventionally called ‘seals’ of calligraphy. This dates back to at least the sixth century.6 (yinzhang 印章). Book collectors’ seals (cangshuyin 藏書印)1 What further distinguishes Chinese book collectors’ seals – one special kind of seal in China – are often compared from European ex libris is the common practice among to European bookplates or ex libris. In fact, some Western collectors of adding their seal imprint to those of previous scholars even use the term ‘ex libris seals’ for them.2 The owners.7 This sometimes resulted in large numbers of two have a number of common features: they are not merely imprints being made in a single book. Not only can such marks of ownership, but have developed into a form of art in imprints be used to identify the various owners of a book, their own right, which could be used by collectors to express but they are also an important source of information in the their personality.3 Despite these similarities, however, there difficult task of authentication and open up the possibility of are also a number of important differences: bookplates are revealing which books once belonged to a specific collector if a product of the age of printing in Europe, while Chinese the person did not happen to draw up or bequeath a catalogue book collectors’ seals are not exclusively confined to printed of the works in his collection.
    [Show full text]
  • CURRICULUM VITAE Qianshen Bai [email protected]
    CURRICULUM VITAE Qianshen Bai [email protected] EDUCATION 1996 Ph.D. in History of Art, Yale University 1993 M.Phil. in History of Art, Yale University 1992 M.A. in History of Art, Yale University 1990 M.A. in Political Science, Rutgers University, New Brunswick, New Jersey 1985-86 Graduate Program in Political Science, Peking University, Beijing, China 1982 Bachelor of Law, Peking University TEACHING AND WORKING EXPERIENCES 2019- Director of Zhejiang University Museum of Art and Archaeology 2019- Dean of School of Art and Archaeology, Zhejiang University 2019- Professor of art history at School of Art and Archaeology, Zhejiang University 2015- Professor of art history at The Art and Archaeology Research Center, Research Institute of Cultural Heritage, Zhejiang University 2004-15 Associate professor of Asian art history, Department of Art History, Boston University 2002 Visiting assistant professor, Department of History of Art and Architecture, Harvard University (Spring semester) 1997-04 Assistant professor of Asian art history, Department of Art History, Boston University 1996-97 Assistant professor of Asian art history, Department of Art, Western Michigan University 1995 Instructor of Asian art history, Department of Art, Western Michigan University 1994 Co-instructor for the graduate seminar “Methods and Resources for the Study of Premodern China,” Yale University 1994 Instructor for the Yale College Seminar “The History and Techniques of Chinese and Japanese Calligraphy,” Yale University 1992 Teaching assistant for “Introduction to the History of Art,” Yale University 1987-90 Visiting instructor of calligraphy, Department of East Asian Language and Literature, Rutgers University 1982-85 Instructor of the history of Chinese political institutions, Peking University AWARDS AND HONORS 2011-12 Fellowship offered by the National Endowment for the Humanities.
    [Show full text]
  • Conference on South Asia
    The 45th Annual Conference on South Asia October 20-23, 2016 This photography exhibit explores the Ramlila tradition in north-central India, but especially October 20, 2016 Dear Conference Participants! Welcome to Madison, Wisconsin for the 45th Annual Conference on South Asia! This year we are delighted to host over 750 registered participants, 12 preconferences, 156 panels, 6 association meetings, 10 exhibitors, and a variety of special events. This year’s conference theme, decay, is a common thread connecting many panels, the Joseph W. Elder Keynote Lecture, Thursday night’s Jadoo Magic Show, Friday night’s Kathakali performance, Saturday’s Plenary session, and other special events happening throughout the next four days. We are pleased to introduce a number of new features and events in 2016. Early on Friday morning, conference chair Mitra Sharafi will host a New Attendee Welcome. This informal gathering will give conference newcomers a chance to meet and to orient themselves over coffee and scones. Our poster session, scheduled for Saturday evening, will showcase new research in a fresh format. It will give scholars the chance to present their findings in visual form and through one-on-one conversations. And on Sunday, the OpEd Project will host a workshop (for selected applicants) on writing and pitching opinion pieces. We remind you that the safety and well-being of all visitors to the UW-Madison campus and the Annual Conference on South Asia are important to us. In accordance with UW-Madison policy, the Annual Conference aims to provide a welcoming and inclusive environment to everyone, and does not condone discrimination on the grounds of race and ethnicity; sex; gender, and gender identity or expression; marital status; age; sexual orientation; country of origin; language; disability; socio-economic status; and affiliations that are based on cultural, political, religious, or other identities.
    [Show full text]