Index

Silent Narratives. Curatorial Concept - Mei Huang ...... 7

Silent Narratives: A Polyphony Of Stories And Journeys - Dr. Laia Manonelles Moner ...... 20

Interview on the Exhibition Silent Narratives - Wang Hui ...... 24 Chinese Hall ...... 33

Wu Guanzhen ...... 35 Liu Jianhua ...... 42 Wang Sishun ...... 44 Shen Ruijun ...... 50 Zong Ning ...... 52 Ding Shiwei ...... 56 European Hall ...... 99 Yang Song ...... 58 Yu Feifei ...... 101 Zhu Zhengming ...... 64 Liu Guangli ...... 108 Zheng Lu ...... 66 Cheng Ran ...... 113 Mounir Fatmi ...... 115 Tamir Zadok ...... 116 Middle East Hall ...... 71 Ma Wenting ...... 117 Arghavan Khosravi ...... 73 Pu Yingwei ...... 121 Adel Abidin ...... 76 Li Linlin ...... 130 Anca Benera & Arnold Estefan ...... 79 Azita Moradkhani ...... 82 Gohar Dashti ...... 88 Larissa Sansour ...... 96 Zeina Barakeh ...... 97 Silent Narratives Curatorial Concept

Mei Huang

6 7 Preface Western powers. However, the reality is that this heart of Asia connected the East and West, which and Palestine, to the trade wars between the Romans area was formerly identified as the Garden of Eden, for centuries used to be two mutually unknown and the Persians, the wars for resources during the Running broadly from the sparkling Mediterranean the place “planted by the Lord God with every tree civilizations. According to Peter Frankopan, the World Wars and the Cold War, and the asymmetric Sea to the burning eastern coast of the Black Sea, that is pleasant to the sight and good for food”, reason why the Eurasian continent took the lead wars and terrorism of more contemporary times, the continuing to the cold Himalayas, we can see the which was widely thought to be located exactly in in economic and cultural development, compared path of the Silk Road has always been a focus of lands that were formerly crossed by the ancient these rich fields between the Tigris and Euphrates to the African and American continents, was that attention in international affairs. With successive Silk Road. Of high relevance in the past, people rivers. This is not the “evil land” of the more recent it greatly benefited from the Silk Road: an efficient wars and disasters, either natural or man-made, the rarely mention this part of the world positively today. stereotypes, but the bridge and the heart between channel that exchanged culture, aesthetics and Black Death, malaria, violent killings and deaths When people talk about this region, it can be the East and the West, often referred to as “the heart commerce. Such a statement can be supported by have spread like rugged vines along this road full of described as an area that is now home to states land of the Silk Road”. pottery figurines, refined silks and painted wooden glory and history. The world is neither good nor evil, that evoke the exotic and the isolated. It is a region coffin drawings of ancient caravans along the Silk nor is human life, while ancient trees are evergreen associated with regimes that are unstable, violent Countless civilizations and metropolises such as the Road, regarded as the epitome of world trade at in the soil of corrupt flesh. History always carries and a threat to international security due to political Persian Empire and Babylon have been established that time1. irresistible dangerous charm due to this complexity. and religious scandals. It seems to be a barren area here over the past 5,000 years, with a sophisticated One story in particular, has set Peter Frankopan on of desert, home to a series of failed or failing states, sewerage system that would not be rivaled in The Silk Road (Seidenstraße), named by Ferdinand the path to look at the world’s past in a different uncivilized areas or locations struggling to find Europe for thousands of years. It is the melting pot von Richthofen, a German geographer at the end of way. Greek mythology explains that Zeus, father of efficient systems of governance. The media often where language groups such as Indo-European, the 19th century2, had also been a contested place the gods, released two eagles, one at each end represent it with scenes such as bloody bombings, Turkic, Caucasian and Sino-Tibetan competed. It since ancient times because of its rich and fertile of the earth, and commanded them to fly towards dirty streets and crowd protests whenever this area is also where the world’s great religions burst into resources, in addition to its flourishing trade and each other. A sacred stone, the omphalos -the navel is mentioned. Hollywood blockbusters have also life, where Buddhism, Hinduism, Christianity, Islam wealthy cultures. From the battles of faith between of the world- was placed where they met, to enable shown it as a chaotic place crying for help from and Judaism jostled with each other. Here, the , Byzantium and the Ottoman Empire, Israel communication with the divine. As a young man,

1 Peter Frankopan, The Silk Roads, 2016 2 F. Von Richthofen, “über die zentralasiatischen Seidenstrassen bis zum 2. Jahrhundert. n. Chr.” , 1877

8 9 Frankopan couldn’t sleep at night thinking about a sense of security and belonging, people began culture and politics5. He asserted that the “Greek all its own.6” The exhibition displays the archive of the place where the two eagles met. He found to feel anxious -this brought about active or passive spirit”, sought after by many people and considered ancient artifacts of the Silk Road in the same space that the Navel of the World might not be in the cultural, technological and artistic change. The the earliest ancestor of European civilization, did as the contemporary works of 25 artists from various Mediterranean, which is regarded as the cradle of development of culture, art, politics and society not develop independently. Similarly, during the countries along its route, such as China, Iraq, mankind in the West, but in the center of the earth, cannot be separated from their own history, its prosperous time of the Tang Dynasty in ancient Israel, Iran, Palestine and Lebanon. The exhibition the heart of Asia. This is the beginning of another reflection of the present and the gradual processes China, the inclusiveness of culture can be seen from makes the cultural and historical exchanges possible possible narrative, a more de-westernized story of of learning and connecting with foreign cultures. women’s clothing; the gold, silver or jade plates; and between ancient and modern work silently, ignoring ancient civilizations3. Behind a seemingly single narrative, there is always the small statues that were inspired by the Middle the limitations of time and space. Chantal Mouffe, a a huge hidden network of history and culture. East regions and Europe. What about contemporary Belgian political thinker, believes that everything has William Michael, said in his book The Rise of the When the ancient Silk Road brought interactions society? What is the connection between the history something to do with politics and always will be7. West: A History of the Human Community, that the between information, culture and economy, it also of the ancient Silk Road and the countries along the Do the works of art also show the social and political development and transformation of history always brought tremendous changes to the countries along routes in this contemporary world? And how is this contexts in which they have been made? In relation occurs when human beings think about the past the road. Large-scale capital flows have had far- connection presented in an artistic way? This is also to this, political scientist Wang Hui talks about the or establish contact with strangers having different reaching effects and have hugely stimulated the a contemporary issue discussed in this exhibition, discourse of “De-politicized Politics” that shapes and more advanced technologies4. This is an economies of the countries along the commercial Silent Narratives in the above-mentioned macro contemporary societies8. For Wang Hui, social and incomparably contradictory human emotion. On routes. Economic growth extended its butterfly effect historical context. political struggles become silent as public space the one hand, people look forward to catching up outwards along the Silk Road, mega-buildings and is deprived of its conflictual nature as the political with and possessing others’ technology, culture and cities sprung up one after another, even kilometers The title Silent Narratives was taken from Chaim and the social are trying to be constructed as two means of production. On the other hand, as this away. When discussing the origin of Western Potok’s novel The Chosen, in which he explains: separated spaces. In this way, Silent Narratives contact with the new culture impacted the intrinsic civilization, Christopher Coker devoted a great deal “I’ve begun to realize that you can listen to silence also represents those silent social and political values and cultural system that used to bring them to describing the Eastern influence on Greek art, and learn from it. It has a quality and a dimension narratives present in artifacts and contemporary art

3 Same as 1 5 Christopher Coker, “The Rise of the Civilization State”, 2019 7 Chantal Mouffe, “Agonistics - Thinking the world politically”, 2013 4 William Michael, “The Rise of the West: A History of the Human 6 Chaim Potok, “The Chosen” ,1967 8 Wanghui, “De-politicalized Politics - The End of Short 20th Community”, 2001 Century and the 90s ”, 2007

10 11 works. In addition, the image itself shows image Western Europe section discusses “Eurocentrism”, Talking about the traditional art and culture of China’s Qinghai, Shaanxi and Inner Mongolia11. With the complex9, that is, the image’s own value and “Colonialism and Post-Colonialism” and “the Far- Silk Road, the first things that come to mind are the development of trade along the Silk Road, the artistic display value in the museum. If the artifacts, visual right wing’s rise in Europe”. various kinds of beautiful silk, porcelain figurines and styles of China were greatly influenced by foreign art, arts, pictures from news reports or the internet are brilliant Buddhist art in Dunhuang, Gansu Province. and the unearthed wool fabrics also have obvious being displayed in the museum platform out of their Chapter One Traditional brocade and silk were important works of Western theme patterns. Western Asian weaving own contexts, their significance will be changed art that linked East-West trade. From the 1st century patterns such as linked-pearl, pig’s head, peacock, according to the discourse (The exhibition project Traditional culture has a profound impact on China. B.C. to the 8th century A.D., the upper classes lion, camel, winged horse, merchants and knights Forensic Architecture, which was nominated for the For example, in all kinds of events, whether they are of the Roman Empire had become obsessed with from the Region of Ancient Hu (which nowadays are Turner Prize last year is a great example), which public or private, there will always be statements Chinese silk. Cities such as , Rome, Naples countries in the Middle East) have been discovered adds diversity and attractiveness to the exhibition such as “since ancient times”, while the modern part and Sicily became the important consumer cities by archaeological studies successively. Porcelain itself. is rarely mentioned. If you read the ancient work of Western Europe to form a cross-cultural link with and figurines also symbolized the favorite luxuries “The Twenty-four Histories”, it seems that “since China. According to historical data, as early as the of the upper nobles. In a group of still objects in This exhibition is divided into three chapters: The ancient times” can be found more than a thousand 5th century B.C., the statue of Athena in the Temple front of the Dutch oil painter ’s Greater China: Hall 1 and Hall 2, The Middle East: times10. Ancient people often used this statement of Athena Nike in Greece wore thin silk clothes, thus work, Girl reading a Letter at an Open Window, Hall 5, Western Europe: Hall 6. In the Greater to define the eternal truth when they discussed the some Western historians speculated that silk flowed careful observers can find a plate of Chinese blue China chapter, we mainly discuss two parts: “The subtle issues of heaven and earth, the people and the into Greece through the Silk Road early in the Spring and white porcelain. Religions such as Buddhism, Traditional Art and Culture of the Silk Road in nation. In the field of art, traditional arts such as the and Autumn Period and the Warring States Period. Nestorianism, Zoroastrianism and Manichaeism China” and “The Relationship Between Traditional visual language of Buddhist culture, philosophical Ge Chengyong mentioned in his article “On the were introduced into China by foreign monks and Art and Contemporary Art”. The Middle East chapter ideas from various schools of thought, or landscape Starting Point of the Silk Road of the Han and Tang businessmen with the flourishing of trade, which describes the two main issues of “Glorious Past” and and weave patterns also affect the creation Dynasties” that the textile discoveries in the Han and were mainly spread among Hu people after entering “Isolation and Separation”. The last chapter, the of many contemporary artists. Tang Dynasties were mainly from Xinjiang, Gansu, China from Central Asia. The quote by Ji Xianlin from

9 Meg McLagan and Yates McKee, “Sensible Politics - The visual 11 Christopher Coker, “The Rise of the Civilization State”, 2019 Culture of Nongovernmental Activism”, 2012 10 Liu Xiaoyuan, “Frontier Passages”, 2016

12 13 Volume 12 of Shi Sengyou’s Hong Ming Ji, “All the present as well. How does the contemporary art of of museums in Britain and France. For example, in also presented itself as a beacon of stability and disciples of Buddha are Hu people” is the evidence China merge and develop with traditional art in the the British Museum, the ancient Persian Empire is fairness15, as a trilingual inscription hewn into a cliff of it12. Foreign monks and businessmen had close era of rapid rising and integration with the world really admired: the giant Sphinx statue with long face at Behistun demonstrates. Written in Persian, contacts with each other, who later worked with after the transformation into a modern society? In the curls and beards, the stone walls recording hunting Elamite and Akkadian, it recorded how Darius Chinese followers to create many Buddhist grottoes first chapter of the exhibition, the Great China, three and sacrifice activities - the muscles of men’s backs the Great, one of Persia’s most famous rulers, put and murals in China, among which Mogao Grottoes of the most representative arts about the Silk Road, and calves and the vigorous movements of animals, down revolts and uprisings, drove back invasions were included. Mogao Grottoes integrated foreign brocade, ceramics and Buddhist arts are selected not to mention countless gold and silver jewelry and from abroad and wronged neither the poor nor the Buddhist art with Chinese traditional culture and left and presented in the form of artworks together with glassware. The memory of these objects, which powerful, for justice and fairness are the bedrocks of numerous artistic treasures. On the walls of Mogao the works of eight contemporary Chinese artists. are out of context in a western museum, can help the kingdom. Tolerance of minorities was legendary, Caves, traces of the Silk Road caravan can also be While appreciating traditional arts, audiences people imagine the glorious past of these ancient with Cysus II, the founder of the empire who was found. can also rethink and compare the differences or civilizations. The Persian Empire, with a developed referred to as the “Messiah”, and the one whom associations between traditional art “since ancient economy and culture, where everything people at the “Lord, the God of Heaven” had blessed, as the Liu Xiaoyuan once put forward: “Today, when the times” with modern social, political and international that time used was extremely sophisticated. In 1400, results of his policies that included the release of the rise of China is talked about with great attention, an theories and contemporary art works: where did Simi Nishapuri, a librarian in Mashhad of eastern Jews from their Babylonian exile16. The prosperity increasingly concerned question is: after the collision they originally come from and how did they connect Iran, described in detail Persian scholars’ taste in of the Middle East has gradually penetrated into with the West, what changes have been brought to to each other? paper selection: paper elsewhere was too rough, the lives of Chinese people through the Silk Road mottled and hard to preserve. The best paper for as well. From the small statues of cultural relics, China’s concept, behavior and even existence by Chapter Two the transformation of China’s state and society since calligraphy should come from Damascus, Baghdad we can see that they are typical of the tri-colored modern times?13” We can borrow this question Seldom can people truly witness the historic relics and Samarkand. It was better to dye paper crimson glazed pottery of Hu people with their horse-riding regarding the development of the traditional art of Middle Eastern civilization, even if they do, before writing, as masters’ calligraphy works and hunting figurines in the second year of Emperor 14 of the ancient Silk Road and contemporary art at they can only see them in the glass display cases are usually written on crimson papers . Persia Zhongzong of Tang Dynasty (706 A.D.) and the

12 Ji Xianlin. "Merchants and Buddhism”. Ji Xianlin Anthology, Vol. 7, 14 Al-Muquddasi, Ahsanu-t-taqsim fi ma“rifati-l-aqalim”, B. Conllins, 16 H. Rawlinson, “The Persian Cuneiform Inscription at Behistun, 1998 2001 Deciphered and Translated”, 1894 13 Same as 10 15 Same as 1

14 15 statues of golden dressed ladies in the Tang Dynasty towers. In the streets of the ancient city of Jerusalem for self-identity. Most documentation of artifact virtue and art, philosophy, religion, political system (618-907 A.D.), which are well-dressed and you can see 19-year-old soldiers with AK47 rifles exhibits in the hall are Chinese pottery figurines that and literature. This so-called Greek spirit has deeply colorful, and the high-waist skirts are obviously not talking and laughing together. The immigration of were deeply influenced by the artistic attainments influenced the construction of European civilization. the native style of dress in Sui and Tang Dynasties, first-class or bottom-class refugees to the West has and culture of Hu regions during the Tang Dynasty, With the restructuring of the world after World but the long-standing style of dress of the Western resulted in fierce cultural and religious conflicts, which were excavated in the regions along the Silk War II, Western ideology seems to have become regions. It demonstrates the prevalence of imitation which has also stimulated the rise of conservatives Road. This has constructed an in-depth conversation a synonym for this spirit, being exported to many of the Central Asian culture among middle and in the West. The term ‘Middle East’ seems to have with the contemporary , installations, video different places in the world and, hence, becoming upper strata in the Tang Dynasty. become a dangerous connotation, which potentially and photographs displayed. Most of the portraits hegemonic. However, this hegemony seems to be prevents the communication and dissemination are female statues, the display positions of which contested nowadays as Western liberal democracy However, the glorious history of Iran has been between cultures. Relatively speaking, conservatism echo the works of female contemporary artists. This sees how its inner and outward enemies are smoothed by storms like sand in the desert. and exclusion of religions also created more barriers part of the archive and contemporary works of art growing. Edward W. Said already addressed the Afghanistan, Iraq, Syria and Palestine, whether to its cultural understanding and acceptance. also analyze the rise and fall of civilization in the birth of extreme right conservatism some decades having suffered from religious wars or civil wars, or Middle East regions along the Silk Road from a ago in his book Culture and Imperialism, “...in each the hunger and thirst of foreign enemies for resources, The second chapter The Middle East of Silent feminist perspective. instance respectively so much has been made of shared the same fate. Endless wars and blood have Narratives shows the works of a group of young the dangers of ‘un-Americanism’ and the threats to touched the land that created golden civilizations. artists from the Middle East but living or studying Chapter Three ‘Arabism’. Defensive, reactive, and even paranoid Tourism in most Central Asian countries has basically in the West, whose average age is around 30-45 nationalism, is, alas, frequently woven into the very stagnated nowadays. The unstable situation has years old. In their works, the symbols and fragments Greek culture has been regarded as the origin of fabric of education...18”. In opposition to right-wing prevented international tourists with curiosity from of the ancient Middle East culture can be seen, and European civilization. Edith Hamilton’s Greek Spirit17 conservatism, the left seems to be also willing to experiencing the history of these civilizations. The audiences can also comprehend their thoughts of their has been one of the first books in attracting attention join alternative discourses. The term, “Baizuo”, glorious hotels of the past have become empty ghost own history, culture and wars, and their struggling in China about issues such as fairness, democracy, or left-wing political correctness, has become a

17 Edith Hamilton, “The Greek Way”, 2014 18 Edward W. Said, “Cultural and Imperialism”, 2003

16 17 derogatory word in various Chinese contexts, past, we have also heard a lot of doubts about the Epilogue remediating its original Western meaning. In diversity of “eurocentrism”: we are used to analyzing contemporary Europe, examples of far right populism international issues from the Western perspective, I personally appreciate what Roberto Mangabeira are amplifying: the referendum on Brexit was led but is this exactly the only criterion for judging things? Unge has stated in The Self Awakened: “Any social by Britain’s conservatives, and the far-right leader theory that would escape the illusions of false In the third chapter, Western Europe, we take a fresh Marine Le Pen is an equal-power rival of Emmanuel necessity without surrendering to the fantasies of look at the Europe: the rise and fall of European Macron, Germany’s far-right Party is rising again as an unrestrained utopianism must make sense of this history, culture, social politics and art through the Chancellor Angela Merkel has announced that she clash between the self-fulfilling prophecies and the eyes of Chinese artists and artists from the Middle would not run for president next year. Although the recalcitrant facts.19” The exhibition, Silent Narratives East. The artists have rich international experience basic social system has not been shaken too much, is not only related to the past, but also takes the and global backgrounds, who use visual arts to the chandeliers in the ceiling of the magnificent present into account. The ancient Silk Road is just an discuss various acute social, political and cultural palace of the sturdy art dome seem to have been introduction, which invites us to view the world from issues in Europe today, such as colonialism and shaking, showing the trend of crush and separation. the perspectives of the history, culture and politics post-colonialism, eurocentrism and self-identity. At of globalization. Both ancient literature and today’s the same time, this chapter also presents a lot of visual arts are narrated by artists from their own The European art circle seems to be hanging on precious literature and maps of monetary and trade points of view, either micro or macro, which also and remains unaffected by these political and social exchanges between China, the Middle East and offers the possibility for visitors to interpret the history trends, but the massive cuts in art budget have Europe along the ancient Silk Road. from multiple perspectives. brought many institutions that rely on government funds to the brink of bankruptcy, leaving many art practitioners unemployed. Facing the declining large international exhibitions compared with the

19 Roberto Mangabeira Unger, “The Self Awakened”, 2007

18 19 When I look back at my experiences, my heart The German geographer, Ferdinand von Richthofen, starts beating and I start sweating. Exposed to created the term “Silk Road” in his book Old and constant dangers, I never took care of myself, since New Approaches to the Silk Road (Viejas y nuevas I had before my eyes a clear goal that I pursued aproximaciones a la Ruta de la Seda) in 1877. undaunted and from which nothing could stop me. Although it is a road defined by him, it is important to And this in spite of death, almost inevitable because remember that there is not just one road but several of the innumerable risks, and that the hope [of a safe routes, both land and sea, which have been the return] seemed very small.1 backbone of economic and cultural relations from antiquity to the present day, opening new routes Silent Narratives: A Polyphony Of Stories Faxian, the first monk, for whose trip to India in for exchanges between China and Europe. This And Journeys 399ad there is information, recounts his experiences network of roads led to connections, encounters, on the mythical Silk Road in the style in first person reciprocal relations but also confrontations. The Silk Dr. Laia Manonelles Moner narrative, narrating illusions and expectations as Road not only transported goods from China to the University of Barcelona well as risks and dangers. The legendary Silk Road, Middle East until they finally reached the European described by merchants, Buddhist pilgrims, Christian continent through mountains, deserts, steppes, missionaries, researchers, travelers and adventurers, villages, fortresses and cities, what is more important over the centuries, has become a mythical land, a is that in the return journey, apart from the economic crossroads of commercial and cultural activities that achievements, it also brought about exchanges of have enriched and stimulated the growth of Empires different religious cultures and thoughts. while also being the scene of archaeological plundering, battles and wars. Silent Narratives proposes rethinking the Silk Road

1 Thomas O. Höllmann. La ruta de la seda. Alianza Editorial, 2008 p. 41.

20 21 from different perspectives, collecting the work of and ruins coexist with hope and the will to think of artistic languages - create communicating vessels 25 artists born in countries that have been part other ways of acting and doing things. Within these between the private and the public, between of these commercial routes, such as China, Iraq, themes, it must be stressed that the last section of the personal and collective experience. Several of the Israel, Iran, Palestine and Lebanon. These artists exhibition journey warns of the asymmetrical relations artists taking part in the exhibition referred to their focus on the diverse realities of a scenario where between the “West” and other cultural frameworks, migratory and intercultural experience, reflecting on the global and the local intersect, meet and question questioning the colonial and post-colonial dynamics the intersections and “in-between” spaces created each other without ceasing. Huang Mei, who is still in force today. by migration between their countries of origin and one of a new generation of curators working in the new cultural frameworks in which they live and a transnational context, claims the Silk Road as a Art can become an instrument that helps to illuminate develop their artistic projects. The exhibition proposes bridge and as the heart that makes up the backbone - in a globalized context - diverse transnational other narratives and a story that goes beyond of the relations between the “East” and “West”. The problems, although it is necessary to bear in mind the Eurocentric perspective that has established curator presents a route based on three chapters that there are still certain difficulties in relation to the a relationship with the “other” from the exclusion articulated from “The Greater China,” “The Middle circulation of artistic works: “The old Silk Road has or fascination towards the exotic. These stories East” and “Western Europe.” In these sections, multiplied opening ways by land and sea, extending are woven from different enclaves, from different there are transversal axes that reflect on tradition at first sight the global circulation of goods and social, economic and political contexts, promoting and modernity, putting contemporary creations into labors, but it seems that in the artistic scene the tax decentralized, polyphonic, multifocal narratives that dialogue with reproductions of historical works that issues have increased in inverse proportion.”2 collects what has been omitted, what has not been directly nourishes the imaginary of contemporary pronounced and what has been silenced, in order art. The memory of glorious periods is approached Silent Narratives connects macro-history with micro- to give the floor to and to listen to other stories that from nostalgia and also from critical reflection. tales, reality with fiction and fantasy, giving the floor allow us to think of other cartographies. Likewise, treasures, traces of the past, destruction to emerging artists who - from different experimental

2 Menene Gras Balaguer. “El giro cultural de la geografía y las Revista de Museología: Publicación científica al servicio de la nuevas Rutas de la Seda. Cartografiando sistemas de significados comunidad museológica, nº 65, 2016, págs. 94-104, espec. 98. y asimetrías derivadas del auge del arte contemporáneo asiático”.

22 23 The first thing I want to express is that I’ve that the whole exhibition took the Silk Road as read your article (the Curator Huang Mei). In a trail of communication. The interesting part fact, I think you possess a good concept as it here is that the trails do not develop along a is rare to see domestic curators that hold such single line, namely it is not a simple route from an international vision, which is not merely a China to Europe, but they develop in multiple traditional outward looking at the world. It is a lines at the same time. So every part has its own connection built that includes both China as well focus, which I assume is very important: change as the whole world. I think I should extend my happens in the way that people view the world. congratulations to you for this. In the past, a lot Interview on the Exhibition Silent of experiences in Chinese contemporary art are If we see the Silk Road as a journey from one Narratives basically acquired on an imitation of western place to another, the origin to the destination, modernism and postmodernism. We’ve learned while the destination is the aim of all the Wang Hui a lot, yet what exactly is a world view or a actions, this narrative is typical of a teleology conception of history behind it, how to build self- that the destination must be the west and must understanding, how to comprehend the world be in Europe. Yet in this exhibition, we see a with this kind of self-understanding, are questions communication process, the mutual infiltration that still need further discussions. In a word, I’d of each place is presented to visitors, which is like to congratulate you for carrying out such a particularly important from my point of view. If great job. we present or salvage the history of countries along the Silk Road, such as Iran, Iraq and Secondly, what has impressed me most was Turkey, to some extent, it belongs to an

24 25 archaeological work. When we refer to it as our civilization. We have become ignorant to qing came from Persia. Part of the composition into Turkey and Asia, he had to deal with a lot an archaeological work, we are not saying it the contents of our own culture, which is also of the blue and white porcelain was actually of second-hand materials. His understanding of does not exist. Contemporary archaeology is to a question of how to open up our historical developed from Persian silverware. Of course, the cultural language of the region had to be salvage what might often be omitted or ignored memory in addition to breaking our superstition a lot of integration can’t simply be regarded as interceded with a different narrative, thus it was from our historical memory or narrative, let them of the West. being influenced by Persia. In turn, Chinese art not as fluent as his understanding of the Western present themselves and let people understand has influenced other cultures. If we look at the part of the Mediterranean Civilization. that this is not a general amnesia problem: in For example, there is an exhibition hall where I connection between the Persian miniature and today’s world, severity lies not in our amnesia, saw the photos of the tri-colored glazed pottery of the Chinese brush painting, the mutual influence One of his students, Carles Bonnie, was 80 years but in our ignorance. the Tang Dynasty. In fact, the tri-colored glazed is quite obvious, even though I haven’t done old when I first met him. He lived in , pottery and the blue and white porcelain, which specific research about it. more than a decade ago. There is a museum of So I remember that when Samuel P. Huntington later become the most important inventions of textile technology in Bologna. This man wrote wrote the Clash of Civilizations, Edward Said our Chinese civilization and art, are all closely It’s an important question concerning the a book called The Industrial Revolution Before responded with a title that said it’s not a clash connected with the Silk Road. The configuration conception of history. Here is an example from The Industrial Revolution in Italian. It’s a book of civilizations, it’s a clash of ignorance. Today and materials of the tri-colored glazed pottery the study of history. Fernand Braudel, as we all about the changes in textile technology along we face such a situation that the concept, the are often related to Central Asia and West know, was a great historian of Mediterranean the Silk Road. For the first time, I noticed that a clash of civilizations seems to come back again Asia, as we all know, related to the art of Civilization and a leader of the Annales School. Western scholar’s study of the Silk Road didn’t to our lifetime. Yet the essence behind it is not the Hu people (the Northern barbarian tribes I admire him very much. Yet when I read his simply take China as the destination, nor did the clash of civilizations, instead, it’s the clash in ancient China). Even the color blue in the book The Mediterranean, I found that he wrote it end in Venice or . On the contrary, of ignorance. We have become ignorance to blue and white porcelain that we later thought well in the parts about France and Spain for he he conducted a study of the textile technology, this knowledge that is closely linked with our as a typical symbol of China, was called hui could easily read the documents and materials which was improved at every place along the Silk history and even in some way shapes again qing back then. The earliest material of hui of his own language. But when his pen moved Road. A lot of innovation was created locally, in

26 27 Persia, Turkey and other areas, it got advanced created by the contemporary artists along the South Asia, the region used to be the birthplace Establishing Administrative Province in Western in every place, perfecting the overall textile Silk Road, and they focused on contemporary of civilizations, a few major civilization, not Regions. While Wei Yuan, since that time, technology. We all know that Britain’s industrial issues, while the history of civilization was only Babylon, the Egyptian and even a pass- suffered the oppression of the European powers revolution started from the textile industry. So in produced in the process of intervening in through to north Africa; the birthplace of many in southeast China and began to think about the his book, he expressed that the development of contemporary problems. That is to say, as we all languages and religions; and the birthplace connection of various regions. I used to conduct the textile industry was not merely generated by live in our own society, our focus on the global of one of the oldest civilizations in the region. research about Gong Zizhen and Wei Yuan. coal, steam engines, cotton or other inventions, and regional issues is inevitably related with our However, today, it seems to be a symbol of When Gong Zizhen talked about Xinjiang in it was also because the early textile technology own tradition, the historical civilization and the war, rupture, violence, and tragedy. We need 1820, he found that it wasn’t until the Qing along the Silk Road had reached a high point. historical reality. For example, one work of art to enter into the process and reconstruct it. I think Dynasty that people started to notice the region This history might be familiar to us, that is to say, used the broken line as a medium (Arghavan this is the other side of the exhibition. of Xinjiang, for the vision of the Han people has the author has provided another possibility in Khosravi) during the exhibition. What is a broken long been limited to Central China. By the late the narrative of history. What I find interesting line? There is no line on the earth that can be It actually broke up the early civilization from 18th century and the 19th century, there was a about this exhibition is that it has given me such said to be absolutely broken or continuous. We the 16th century, more recently from the 19th possibility that these areas that were previously a sense of possibility. are always connected on the earth, either in a century, and even from the long colonial history, blocked might open up in some way. Until then, broken or continuous line, but in a certain sense, so that the original culture naturally formed in the he realized that the distance from Xinjiang to The third impression, which I think is very clear, artificial. history was re-divided by modern cartography, Beijing is farther than it is to the Arabian sea is that this exhibition is a combination. The artists geography, surveying and mapping. What is and the Indian Ocean. That is to say, as part of are not merely expressing their feelings towards The broken line symbolized more the violence the meaning of such a thing today? I think it has a China, the distance of the region to the Arabian the past, although the exhibition has made a of history which made it broken, and that was very important connotation. We Chinese started sea and the Indian Ocean is shorter than it to historical archaeology as the background. Yet clear from Mesopotamia. Expanding to Xinjiang, to ponder about this region, probably after Beijing, which is the center of the earth. For the the exhibition shows that the works of art were China, and Central Asia, West Asia, part of 1840, as Gong Zizhen wrote Suggestion on first time, Chinese people started to take into

28 29 account another sea not located to its East, but its restructuring followed; the Mongolia Empire In the past, when we were kids, we used to ourselves, nothing more than to build a Western to its West. in this region and its reconstruction. All these watch the news and get to know Yasser Arafat, “other”, where we are little “other’ affiliated to it. historical cultures are closely related to China the Israeli-Palestinian conflict, the Israeli problem, So we aggregate ourselves in this framework for The question of the sea came with colonialism, so in history. the Palestinians and their fate, and the conflict in self-understanding, and we are now thinking in he wondered if there was a path to the Western the Middle East. These issues are relevant to us, the way of catching-up while all of our attention sea in Chinese civilization. Today, we are able My hometown is Yangzhou. Back to the as the Chinese people have suffered this kind is focused on this. We tend to forget the history. to reach the Indian Ocean and the Arabian sea. Song Dynasty, a man named Puhading who of history from the late 19th century to the 20th But we should realize that they are not history In fact, this path has always been connected was believed to be the 16th descendant of century which was part of our historical memory. but living realities which are closely connected through the Silk Road in history, unfortunately, Muhammad, came and lived in Yangzhou. A It is a physical feeling, and I can still remember with us. modern history is used to blocking it. So the large number of Persian businessman and Islamic to this day the place where they were under question of broken line is also a question about monks came to Yangzhou at that time, and their siege in Pakistan, where Arafat was under siege, By visiting this exhibition, if the Chinese our history. These areas today have experienced behavior then penetrated the local culture. There and what we saw on TV every day. For us, we contemporary art circle could mobilize such countless wars. Afghanistan may have no idea were also lots of Hui people in Yangzhou, and were deeply affected as if we had experienced consciousness again, reconstruct the perception about the early colonialism of Britain back to their accents were also integrated into local it ourselves, but the younger generation has had of the world from the new configurations and the early 70s, yet until today, modern “colonialism” dialects. To this day, these buildings from the no feelings or knew little from the Western news knowledge of history, and reshape our feelings has never stopped there. The Iran-Iraq War Song Dynasty, such as the Tomb of Puhading and agencies that had nothing to do with it, nor do of history, I believe the results will be significant. and all the issues between the two countries Crane Mosque are all well preserved. This is our they have any relations with it. In fact, they forgot Because it is not only the problem of knowledge, seems to be endless. As well as Pakistan, from history, but had been nearly forgotten over the that the history of our Chinese has a quite close it is also about feelings. The strangeness of these the early 20th century, the Ottoman Empire to past century. We rarely thought about it on our connection with it. This creates a huge gap in things is far higher than those Western works the restructuring of the regional powers; the conscious level. Especially in the past 40 years, our self-understanding. Our self-understanding we appreciated at the Metropolitan Museum penetration of Russian Empire in this region and we tended to sense this region with less empathy. is partial and broken. We tend to aggregate of Art or the British Museum, which might be

30 31 quite familiar to us. When we see these works self-understanding will begin to change. I think that were supposed to be close to us, they turn this is not a problem that occurs in a certain out to be remote and strange, which caused aspect today, it is the problem faced by many. self-shadowing of understanding. I’ve come to Art, in a sense, the sensitivity of which is ahead feel that, frankly, this is a huge problem for the of the times, can follow up with more discussions Chinese intellectual circle, the art circle and in the future. Chinese society in terms of self-understanding.

This is a topic I’ve discussed for years. Yet even for myself, I am still limited by the topic for I have very limited understanding of these areas. CHINESE So I believe this exhibition, especially when it is HALL held in Ningxia, a very unique region, can set a good example and exert a good influence. The exhibition should be promoted in Beijing and Shanghai, instead of simply being regarded as exotic. I hope that when people visit this exhibition, it is no longer an exotic one but a part of our daily life and a part of the world. If all the feelings of our body can be stimulated by such an exhibition, I believe that our Chinese

32 33 Wu Guanzhen

Title: Lacquer Thread Memory Dimensions: Variable Material: Chinese Lacquer, Ramine Year: 2018

34 35 Title: Memory Fragments 1 Title: Daydream 2 Material: Chinese Lacquer, Material: Chinese Lacquer, Ramine, Gold Foil, Silver Foil Ramine, Gold Foil, Silver Foil Dimensions: 147×147cm Dimensions: 147×147cm Year: 2018 Year: 2018

36 37 Title: Memory Fragments 3 Title: Memory Fragments 15 Material: Chinese Lacquer, Material: Chinese Lacquer, Ramine, Gold Foil, Silver Foil Ramine, Gold Foil, Silver Foil Dimensions: 147×147cm Dimensions: 147×200 cm Year: 2018 Year: 2018

38 39 Title: Sketch in Dun Huang 3 Dimensions: 23×41.5 cm Material: Chinese Lacquer, Ramine Year: 2017

Title: Sketch in Dun Huang 2 Dimensions: 23×32cm Material: Chinese Lacquer, Ramine Year: 2017 Title: Lacquer Thread Memory Dimensions: 23×31.5 cm Material: Chinese Lacquer, Ramine Year: 2017

40 41 Liu Jianhua

Title: Container Dimensions: Variable Material: Porcelain Year: 2009-2016

42 43 Wang Sishun

44 45 Title: Enlightenment 18 8 26 Title: Enlightenment 18 10 5 Title: Enlightenment 18 2 5 Material: UV Curable Resin Material: UV Curable Resin Material: UV Curable Resin Dimensions: 60×40×36 cm Dimensions: 50×26×36 cm Dimensions: 120×6×10 cm Year: 2018 Year: 2018 Year: 2018

Title: Enlightenment 16 9 1 Dimensions: 100×34×12 cm Material: UV Curable Resin Year: 2016

Title: Enlightenment 18 7 1 Title: Enlightenment 18 10 1 Title: Enlightenment 19 3 6 Material: UV Curable Resin Material: UV Curable Resin Material: UV Curable Resin Dimensions: 200×116×69 cm Dimensions: 60×15×28 cm Dimensions: 60×42×26 cm Year: 2018 Year: 2018 Year: 2019

46 47 Title: Truth Material: Installation, Photograph, Video Dimensions: Variable Year: 2014

48 49 Shen Ruijun

Title: Inhabit Dimensions: Variable Material: Various Year: 2019

50 51 Zong Ning

Title: Enter the Mural Title: Xing Tian’s Sadness Material: Photo Printed on Material: Photo Printed on Hahnemühle Hahnemühle Dimensions: 180×150 cm Dimensions: 120×90 cm Year: 2016 Year: 2014

52 53 Title: Vulcan burns me Material: Photo Printed on Hahnemühle Dimensions: 120×90 cm Year: 2010

Title: Bewitched Material: Photo Printed on Hahnemühle Dimensions: 140×180 cm Year: 2016

54 55 Ding Shiwei

Title: Emerging Knowledge Title: Fragments of Civilizations Material: Magnetic Levitation, Material: Single Channel Video Painting on Canvas Installation Dimensions: 187×187×20 cm Dimensions: 160×280 cm 5’26” 200×200×20 cm Year: 2017 Year: 2018

56 57 Yang Song

Title: Frozen Time 1 Material: Sculpture with Earth and Root Dimensions: 138×116×98 cm Year: 2015

58 59 Title: Frozen Time 2 Dimensions: 228×218×130 cm Material: Sculpture with Earth and Root Year: 2016

Title: Frozen Time 3 Material: Sculpture with Earth and Root Dimensions: 148×230×159 cm Year: 2015

60 61 62 63 Zhu Zhengming

Title: Wit Title: Instant Material: Ink and Color on Silk Material: Ink and Color on Silk Dimensions: 197.5 × 128 cm Dimensions: 97 × 74.5 cm Year: 2018 Year: 2018

64 65 Zheng Lu

Title: Water in Dripping Material: Stainless Steel Dimensions: Variable Year: 2012-2019

66 67 68 69 MIDDLE EAST HALL

70 71 Arghavan Khosravi

1.

Title: Ensemble Material: Acrylic Metallic Spray Paint and Glass Bead on Unprimed Linen on Wooden Panel Dimensions: 78.84×154.94 cm Year: 2018

1

72 73 4

2 3 2.

Title: Every Morning News from Home Material: Acrylic on Linen Wood on Wood Panel Dimensions: 78.84×154.94 cm Year: 2018

3.

Title: The Gaze Material: Acrylic on Linen Wood on Wood Panel Dimensions: 60.96×76.2 cm Year: 2018

4.

Title: The Limbo Material: Acrylic on Linen Wood on Wood Panel Dimensions: 71.12×157.48 cm Year: 2018

74 75 Adel Abidin

Title: Construction Site Dimensions: 45×60 cm Material: One Channel Video/Sound Installation Year: 2006 Title: Green Mouse Dimensions: Variable Material: One Channel Video/Sound Installation Year: 2008

76 77 Anca Benera & Arnold Estefan

Title: Memorial Dimensions: Variable Material: Three Channels Video/Sound Installation Year: 2006 Title: Citrus Tristeza Dimensions: 15’14” Material: One Channel Video/Sound Installation Year: 2018

78 79 Title: Conflict Lines Dimensions: Variable Material: Installation(Cut-Out Metal, Prints on Paper) Year: 2018

80 81 Azita Moradkhani 3 4 5

1.

Title: Revolution (Victorious Secret) Material: Color Pencils Dimensions: 40.64×50.8 cm Year: 2015 2

2. 6 7 8 Title: The Shah (Victorious Secret) Material: Color Pencils Dimensions: 48.26×60.96 cm Year: 2019

1

82 83 3. 4. 5.

Title: Men-Women (Victorious Secret) Title: Becoming (Victorious Secret) Title: Cycle (Victorious Secret) Material: Color Pencils Material: Color Pencils Material: Color Pencils Dimensions: 40.64×50.8 cm Dimensions: 48.26×60.96 cm Dimensions: 40.64×50.8 cm Year: 2016 Year: 2019 Year: 2016

6. 7. 8.

Title: Enlightenment (Victorious Secret) Title: Flag (Victorious Secret) Title: Elastic (Victorious Secret) Material: Color Pencils Material: Color Pencils Material: Color Pencils Dimensions: 48.26×60.96 cm Dimensions: 40.64×50.8 cm Dimensions: 48.26×60.96 cm Year: 2017 Year: 2015 Year: 2017

84 85 Title: Cycle Title: Egg Material: Mixed Media Material: Mixed Media Dimensions: 35.56×33.02×10.16 cm Dimensions: 33.02×30.48×10.16 cm Year: 2017 Year: 2017

86 87 Gohar Dashti

Title: Still Life 11 Title: Still Life 3 Material: Photo Printed on Hahnemühle Material: Photo Printed on Hahnemühle Dimensions: 120×97cm Dimensions: 120×97cm Year: 2017 Year: 2017

88 89 Title: Home 1 Dimensions: 120×80 cm Material: Photo Printed on Hahnemühle Year: 2017 Title: Home 2 Dimensions: 120×80 cm Material: Photo Printed on Hahnemühle Year: 2017

90 91 Title: Home 3 Dimensions: 120×80 cm Material: Photo Printed on Hahnemühle Year: 2017 Title: Home 4 Dimensions: 120×80 cm Material: Photo Printed on Hahnemühle Year: 2017

92 93 94 95 Larissa Zeina Sansour Barakeh

Title: Nation Estate Dimensions: 9’ Material: Video Year: 2012 Title: Homeland Insecurity Dimensions: 9’47’’ Material: Animation Year: 2016

96 97 EUROPEAN HALL

Title: Slam Bang Blue Dimensions: 7’10” Material: Animation Year: 2018

98 99 Yu Feifei

100 101 Title: I want to. But I shouldn’t. Material: Tissue Paper, Ink Dimensions: Variable Year: 2015

Title: Refinement of Folly Dimensions: Variable Material: Aluminium Year: 2016

102 103 Title: Study of Refinement of Folly No.2 Material: Intaglio on Cream Colour Somerset Paper Dimensions: 300×400 mm Year: 2014

104 105 Title: Collage Studies of Lovers Material: Mono Screen Printing, Mixed Media Collage on Title: Lovers’ Eyes Dimensions: Variable Material: Lithography Printing, Handmade Bookbinding Year: 2016 Dimensions: Variable Year: 2016 News Print and Cream Colour Somerset Paper

106 107 Liu Guangli

1. Title: Nicolas on the Cost of the Red Sea Dimensions: 8’08’’ Material: Projection of 3D Animation Year: 2017

2. Title: Victoria and Nicolas Dimensions: Variable Material: Book Year: 2017

3. Title: Red Sea of Guangzhou Dimensions: Variable Material: Oil Painting Year: 2017

4. Title: Painter, City and Travel Dimensions: 3x6.13 m Material: Ground Printing Year: 2017

5. Title: Temporary Relationship between Antimony in Tin Mine and A Chinese Man with Only English Name Material: Antimony Slab, Tin Mine of Lengshuijiang City, The Question of Hu, Jonathan D. Spence, Original English Version Dimensions: Variable Year: 2017

6. Title: Sea in the Eyes of HU Dimensions: Variable Material: 3D-Rendered Ocean View, Date Originated from The Question of Hu Year: 2017

7. Title: An Unsent Letter to Phillip Dimensions: Variable Material: Letter in Paper Year: 2016

108 109 1

4

1757톎出版《中国建筑、家居、服 ୌᒺਹ᰸֋ේ 饰、机械和ꈸ物设计》

Christine de Suède (1626-1689) ታَ 1735톎成틋瑞典皇家艺术学院 Parmigianino (1503-1540) Girolamo Mazzola Bedoli Witte Leeuw (Dutch Verenigde (1500-1569) Oostindische Compagnie), David Beck (1621-1656) was lost off Saint Helens on né 1774 né né Pomponio Allegri (1521-1593) mort June 13th, 1613 né mort Stockholm Élisabeth Ire (impératrice de Parme 1742-1762 Adolf Ulrik Wertmüller 1625 Angelo Michele Colonna Russie) (1709-1762) né Balthasar van der Ast Élève Leonard Bramer (1596-1674) (1751-1811) (1604-1687) Moscou (1593-1657) Giovanni Lanfranco Lorenzo Pasinelli (1629-1670) Pierre Ier le Grand (1672-1725) 1682-1725 (1582-1647) 1527 《荷兰彁七省图》 《绘画的艺术》1665-1668 1693 Perspective pictorum et Catherine II (1729-1796) 1762-1796 ݪ aprenti architectorum，画家与建筑家鄨透لଶܦmort Gabriel Metsu (1629-1667) 1731톎成틋 ታَӳ Johannes Vermeer Carel Fabritius (1622-1654) écrit Alessandro Algardi Andrea Pozzo (1642-1709) 1711 Catherine Ire (1684-1727) 1725-1727 Simone Cantarini (1612-1648) 视学 Saint Petersburg (1632-1675) mort Agostino Carracci (1557-1602) (1595-1654) mort 《地᧤学家》1668-1669 Delft 1601 assister died (1599-1642) born Né et mort mort 1744 Gerard ter Borch (1617-1681) dead Imperial Academy of Arts 1757 1638- Annibale Nicolas Sanson (1600-1667) 1658《中国全图》 1632 (1608-1651) Prague Rodolphe II (1552-1612) Francesco Albaniné (1578-1660) Jacob van Ruisdael 1641 mort Carracciҁ1560-1609҂ formé 1635 ૵՗ mort Dmitri Levitskin (1735-1822) (1628-1682) Pieter Codde (1599-1678) Dans l’atelier Willem Cornelisz. Duyster né 1595 Dans l’atelier -1639 former Bartholomeus Spranger baptisé La fondation de l’accademia degli Ivan Shuvalov (1727-1797) Vasily Tropinin (1776-1857) mort (1599-1635) (1546-1611) mort 1582 Lambert Sustris (1515-1584) incamminati 1590 1635 né Ludovico Caracci҅1555— mort élève mort né Bologne 1801 ݪ rival 1619 mortلړ (1638-1709) 1654 mort amis Giovanni Battista Tiepolo҅ Jacob van Loo (1614-1670) 1631 Ferdinand Bol (1616-1680) ， né élève Académie pontificale 1711 ҁ ҆ ҂ , 1606-1669 élève né 1696 1770 1648 Johannes Vingboons 1628 Le Guerchin (1591-1666) Francesco Bassano le Jeune ᖀձ 《澎湖岛及台湾�岛图》 1646 1652 Raphaël Mengs (1728-1779) 1615 élève ݑ။ Peter Schenk the Elder (1549-1592) portrait (1616-1670) 《中国与印度绘画》，1702 Guido Reni ҁ1575-1642҂ élève Domenico Maria Canuti Giovanni Battista Pittoni Jan Lievens (1607-1674) Giovanni da San Giovanni fils Le Tintoret (1518-1594) (1660-1711) 1540 mort portrait 1756 Il est élu président 1757톎出版《中国及东印度诸国游 mort Santi di Tito (1536-1603) Denis Calvaert (1540-1619) (1625-1684) (1687-1767) 1631 (1592-1636) ᘌ૵ 记》 1631 1631 portrait Pehr Osbeck (1723-1805) Jan Steen (1626-1679) Jacopo Bassano (1510-1592) ୻उጯ૝ҁ1697-1752҂ (1627ૡ֢ਰKarel Dujardin (1626-1678) ҅ ҆ Tiziano Vecellio (1488-1576 (ᇇ Vereenigde Oostindische Albrecht Dürer (1471 1528ڊ1665 1798톎破产 Giorgio Vasari (1511-1574) Cecco Bravo (1601-1661) rencontre Compagnie (1602) 1612 Bernardino Poccetti ᴫᬪ 《荷兰鄧使在满清中国的ᗁ闻：퉿 apprentissage 1494, 1505] Bonifazio Veronese venise Académie des Ricovrati 1599 Joan Nieuhof (1618-1672) formé Épouse sa fille Jan Porcellis (1583-1632) ቧၝ 东、江ᅿ、南京、둱东和嵣京的历 Matthias Grünewald (1548-1612) (1487-1553) 嚖㾻ܖၹ Gion Cesare Dandini (1596-1657) Portrait 1717 ၳӤሳझ Uragami 1636 né frère et élève ҁ ҂ 史记录（1655-1657）》 amis Épouse sa fille ਍ኞ (1475-1528) Académie du dessin de Vincenzo Dandini (1607-1675) Venise Nankai 1674-1751 Jacob de Wet (1610-1675) mort Gyokudōҁ1745-1820҂ Élève et assistant Paulus Potter (1625-1654) (1601-1669) Florence 1563 1635 commander rival L'Académie des beaux-arts de L’école de Leyde 1628 Giovanni Bilivert (1585-1644) Giuseppe Porta (1520-1575) Gérard Dou (1613-1675) Leyde né 1741 né Venise 1750 ᇇ mort 㭳੻ਤᬡҁڊ mort mort 1574 1649 1591 Cornelis Schut (1597-1655) né Tawaraya né né 1632 élève diriger 1524 ୽ߥ ື䷻႞㾻 Ki-en 1703-1758 Jan de Baen (1633-1702) 1626 membre Giovanni Battista Foggini mort mort Sōtatsu҅ኞܒଙӧᧇ҂ Frans van Mieris de Oudere Lucas van Leyden 1660 1618 Cosme Ier de Toscane (1652-1726) Giorgione҅1477—1510 Sebastiano Ricci(1659-1734) ቧҁ ӗ ҂طCristofano Allori (1577-1621) 1631 né mort ੲ୵ 1655 recuter (1652-1725) 1658 1716 (1635-1681) (1494-1533) la cour des Médicis -1743 (1519-1574) élève Өᨀᜠ๮ ҁ ҆ Ogata Kōren né Jan van Goyen (1596-1656) mort La Haye Guilde de Saint-Luc Martin Luther (1453-1546) Yosa Buson 1716 1642 élève rencontre élève Palma le Vieux (1480-1528) 1758 amis mort Hans von Aachen (1552-1615) 1590 né ҂ य़ᴝ 1641 1627 1611 Florence fondateur collaboration 1784 Jan Mandijn (1500-1560) né Haarlem 1616 amis 1775 Cosme III de Médicis (1642-1723) 1670-1723 Giovanna Fratellini né Ferdinand II de Médicis mort ఌҁ1558-1637҂طné baptisé Le peintre de la cour,né 1512 1621-1670 élève (1666-1737) ๜ᴨୠ 1540 (1610-1670) Sigismondo Laire (1550-1639) 为耶稣会制作铜版画 ᝕ Ӟᣕҁ ҆ ҂ ӳՂ ኞ 1652 1724ڊ né Johannes Gutenberg fils 1642 Ղ᮷ élève Paulus Moreelse (1571-1638) mort mort 1601 Bartholomeus van der Helst né Adriaen Brouwer (1605-1638) (1588-1629) 1611 (1398-1468) Marie de Médicis (1575-1642) Giovanni Battista Piazzetta ኼۯné neuve Rosalba Carriera (1675-1757) ࣀဉ (1613-1670) né né San Francisco Javier ᵪᛪᒵ๷ҁ ҂ 1628 élève Paulus Pontius (1603-1685) (1683-1754) 1549 1420—1506 frère né Dresde Lodovico Cigoli (1559-1613) né1572 Dans l’atelier ҁ1506-1552҂ 耶稣会创始⊺之Ȁ Jacopo Ligozzi (1547-1627) Dans l'atelier 1621 1602 (๞ Né et mort 1741 Domenico Cresti (1558-1636ڬܦFrans Hals҅(1580҆1666) Utrecht né Joachim1611 Wtewael (1566-1638) ཾၖ né fonder étudier Dirck Hals (1591-1656) formé Francescoélève Curradi 1572 织锰信䵿 （ ， 톎禁㍢天主教传播 1561 Palma le Jeune (1548-1628) Oda Nobunaga 1614 ຍҁ ҂ٯ mort Hans Witdoeck (1615-1642) collaboration collaboration Giovanni Battista Naldini 1640 collaboration Dans l'atelier élève (1570-1661) élève 1669-1742 ࠈણ ݸ 1615ᩝᩞ 1635 né Élève Alessandro Allori (1535-1607) 《避暑둱庄图》1713 (1673-1752 ) 1574 1534-1582） 德川幕府 ～ Gerardus Mercator Maximilien Ier (1459-1591)1616 1621 (1535-1591) Canaletto (1697-1768) (1603 1868) ኞ 1616 apprenti Élève 1621 élève et fils adoptif 1621 Bunjin-gaڊ Anvers 1712 1558 1529 ᝜ᐑਞ ኼ ҁ 《关于托䥒密和哥꙽尼两鄧世界体 Alessandro Valignano 1633톎颁布锁国令ڥ֓ Gerrit van Honthorst (1564-1651) élève ne (1512-1594) 《世界地图》 mort ஛ࢵ né né ๏݋ Galileo Galilei 1564 ᑕ࿄ूᝂ̾ (1539-1606) Japon̽ܦNé et mort mort ਍ኞ޾ַৼ ਍ኞ ଙᑕय़ᕅ 1569 Lucas Vorsterman (1595-1675) (1590-1656)mort ҆1642҂ 系的对华》1632 1605 1587톎《伴天连追放令》 (membre Auguste III (1696-1763) 1736-1763 élève né Andrea Boscoli (1560-1607 1682 ض1652ଙӗ1654ଙ ᒫӞེ᝕រ౴ԩ҅ 1635 Gregorio Pagani1536 (1558-1605)1623 1716 （ ）ኞ9Fransེၹ౴҅԰ํᙯᨮ҅֕௛֛ฎ Floris (1519-1570) collaboration élève 丰成秀吉ݎݸ Sir Joshua Reynolds (1723— Bronzino (1503-1572) l'Académiecollaboration grand-ducale 1673 ਍ԟ ᧗ර 1536-1598 德川家康（Tokugawa Ieyasu， ౴ᨳ̶ (1595-1624) 1604-1607 Bernardo Bellotto (1721-1780) ᆢᐽᨭҁ ҂ ṛٌ֫ҁ1660—1734҂ 1612禁教令هរ (1792 Osias Beert (1580-1623) né protegé 1689-1726 1596톎，䵿崎殉教 1543-1616） 1776《ꛄ亚东像》 1635 travaille pour 1615-1632 Gian Lorenzo Bernini, ਘူک 1696 1535 1673-1676 Jacob Jordaens (1593-1678) mort (1598-1680) ๏݋ 1467 ᥝ࿢݇ᥠ apprenti Francfort-sur-le-Main 1641-1647 (1589-1650) Pietro Longhi (1701-1785) 《程䠏ꈺ苑》 ಄ҁ ӗ ݸ҂ 1604ށThomas Gainsborough҅ 1617 etude ᑕ 1720 1514 1610 ॲॠᬠᴡҁՔંᬠਘ҂ 1715 1627 Matteo Rosselli (1578-1650) rencontreMichelangelo Merisi da ̽၎Ӿ၎क़ࢶ̾ ᇾᰀၝ கአኮ૵ Sir Anthony van Dyck (1655-1698) Né et mort né 1621୏তԅٌૡ֢ 1634-1646 1633-1640 Girolamo Muziano (1727-1788) 1610 1579 ܜ೉኎ԗҁ1571— (1599-1641) né 1604 கአኮ૵ ҁ ӗ ҂מزné Andries Both (1612-1642) Joachim von Sandrart (1591-1632) (1528-1592) ᘆ຋ᴺ ᐴԏἧҁ1647-1716҂ ࿰य़ᵝ҅ҁ1721ଙ҆1776ଙ҂ 1 ᇾᰀ ਍ኞ 1652 1610҂ 1581 1477 1559 Dans l’atelier ᧗ර 1560 ؟1721ኮ Sir Godfrey Kneller (1606-1688) 1637 ҁ ӗ ҂ ୽ߥ ᳩᨕ૝ᒵ֋ҁמ1685开放�禁 The Kangxi Emperor (1654-1722) ֋૶޾ᦊԅܻ֢҅1597ଙ౮ԭ෭๜ࣀ ᇾᰀྋ 1577 1624 ҁJohann Schreck҅ նၶԜҁ ҂ 1434 1530 Hasegawa҅ڍHans Holbein der Jüngere Peter Paul Rubensné membre Carlo Maratta (1625-1713) ᮆሳ ਍झ 1698-1747ےinviter 톎 ✈ ᷥ为⾦金金尼阁创作肖像 Cavalier d'Arpin (1568-1640) ᪠ 1666 (1646-1723) 1665 《ⅲ福宗像》 1617 1 17 membre demande 1580 ៿ꂀᲟҁ1669ଙ—1732ଙ҂ ҅ ҂ ᒫӞձᴺᳩ (1497-1543) ҁ ҂ schildersbent (« bande de Federico Zuccari (1542-1609) 1595 1577 《远ᅿ奇ꈸ图说录最》1626 ҂ 6 Tōhaku 1539-1610 1614 1577-1640 1673 1742 1576—1630 1799 1749 1623 frère 7 né peintres ») 1724扩建圆明园 1583 rencontre ᇾᰀ࿞஛ҁ1543ӗ1590҂ Francesco Cozza (1605-1682)1652 ਃৼ Jon Constable1526 (1776-1837) né 1720 1592 Taddeo Zuccaro (1529-1566) 皇舆全览图 雍正（1678-1735） ᳪஏ ୠ໒ 1795Michael Boym Ḙࢵᨲ Matteo Ripa ۹Ղ The Wanli Emperor (1563-1620) ᇾᰀറଟҁ1602ӗ1674҂ܘ ( (1640-1723) Jan Asselyn (1610-1652 amis 1746 employer 1625 Paul III (1468-1539) 1618 (1682-1746) 雍正帝⾏行行乐图册1711 ਍ኞ Francis Drake (1540-1596) membre 1577 né (1612-1659) ݪḘ࿯࿥ҁ ӗ ҂ ᇾᰀઊԔҁ1559ӗ1635҂ Joseph Mallord William élève 1718 mort Grégoire XIII (1502-1585) 1572-1585 1747 1818 1620 né 御制避暑둱庄图咏三彁六景 崇祯皇帝（1611-1644） Golden Hind Turner҅(1775҆1851) 1660 Cornelis de Bruijn (1652-1727) ૵՗ ஏਃ 1794 (litt., les « Oiseaux de bande ») 1620-1720 1592-1605 Clémentmort VIII (1536-1605) 1720 ᒫӞེ ᝘ҁ ӗ ݸ҂ܖঀ৛ Jean Francoise Foucquet 《乾᧜平定准部回部战图》 ဂ ҁ1607ӗ1650҂מprivateering circumnavigation of Francisque Millet (1642-1679) Alessandro Turchi (1578-1649) Urbain VIII (1568-1644) 1682 1760 ᇾᰀ੢ （ ）active (1665-1741) ݟࢧ 乾᧜ the globe between 1577 and ᝕ࢵጳਹᜏ๞਍ᴺ 1632 1651 ሴᛘᦻ 1711-1799 ଙ૶੨ҁ ҂ 1735톎，视学精蕴 Royal 1674 mort Jean Denis Attiret 1671―1739 membre 1674 1605-1621 Paulus PP. V (1552-1621) rival 1580 Thomas Daniell 《뿳渠宝笈》 1745 1701=1703 ই఺ḅ 1596톎，ᷥ本有詬创틋ᦺ圣봷加学 Academy Schools Alexander PP. VII (1599-1667) 1655-1667 (1702-1768) 1601 1692 1768톎成틋 ፗંᴷӥጱḒଅኮਹ mort Rome 1637 apprentissage 1731 Pieter van Laer (1599-1642) directeur 堂，学负⊺数14⊺ 1618 帶亲中国⊺，翍亲ᷥ本⊺ (1606-1681) 1621-1623 Grégoire XV (1554-1623) 1645 ᐑըԏԩ ҁ1562҆1633҂ ׻ᵝᨕJacoooސطsend Visite l'atelier ὄ܏࿆ எ membre 1635-1644 apprentissage collaboration Nicholas Longobardi Thomas Hyde (1636-1703) 1570톎开放给葡萄湙⊺ 1663 1655 Innocentius PP. X (1574-1655) 礼仪之争 ҁ ҂ ੰᴁᘌ Isaac Fuller (1606-1672) 1623 ҁ ҂ Niva 1579-1638 professeur Giovanni Niccolo 톎，䵿崎开设美术学院1682 1720 interdite 1603 1661 1559-1654 圣翍魐像 1582 ᳩ઼ Henry VIII (1491-1547) British East India Company 1626First tea get in 1664 1700-1721 Clément XI (1649-1721) pontificat 1658在慕尼⫑刊印ᦺ《中国上古 ҁ1560-҂ Nagasaki-shi Dans l’atelier Giovanni 嵣京天主教会壁画 ᘌ૵ Charles I (1600-1649) 1659 史》 1596톎䵿崎殉教 ࢵ ҁ ҂ ૵ᆿ۾ܣ ݪᤈ඲ Clemens PP.mort XIV (1705-1774) 1769-1774لଶܦ᭗ᬦဩ஌ጱ୵ୗദԨԧӳ received a Royal Charter from Queen 1618 Martino Martini 翻译《㷠何原本》 Gherardini 1655-1723 ᴯຍ ᎪਡचҁFrancois de Lagoa҂ ୏੗ ᘌ૵ 톎在澳凨鄧三巴教堂绘制油画 ๦̵ᱹ૰๦̵٠Ԫ๦޾क़Ի๦ Elizabeth I on 31 December 1600 amis ᖀձ 1582 James I (1566-1625) 1630 commande 1585Pie V (1504-1572) 1657 1608 (1614-1661) Le Dominiquin (1581-1641) 1716 ፼૞ҁՔမܖ፼݅ 《救世者》 1750 né 1568 (Ricci) Elizabeth I (1533-1603) invite assite 返回欧洲后与阿姆斯特制图商合 1688 1711 ٨ሸᒂҁ ҂ 万国图志》 ᮤӮਘ Giuseppe》 (1631-1690) 1581 1616 1595 Mateus Van ਍ኮ ሸ 1728 Ԉគڥ mort 作《中国新地图集》1655出版 Matteo Ricci (1552-1610)1762 1620 James II (1633-1701) 1600 Castiglioneҁ1688҆1766҂ 乔治Ȁ世（1660-1727） Académie de France à Rome ᒂ 1589 amis Londre né 1767톎产品 Beauvais Tapestry 1665 louvre Pierre de Cortone (1596-1669) 1685 (Fu-Tsung) Claude Lorrain (1600-1682) 1666 1601톎，献“天主像Ȁ副，天主翍 1717 ᤝຑ ҁ1600ӗ1645҂ 1666톎9✈伦敦鄧呫 (1563-1639) mort élève 像᪌幅 映五彩玻璃뿳 1626톎《远镜说》 ৼد ” , né 乔治三世 né 1754 1734 (1738-1820) rival Johann Adam Schall von Bell ஃᄳᳪ ӷེӧӾڹJean-Honoré Nicolas (1599-1661) Ciro Ferri (1634-1689) Ӟݶ John Riley (1646-1691) 1624 ࿲ᝑ๕(1592 – 1666) ᤝݢᒈҁ1562.4.25҆ 1688톎光荣썩命 Fragonard (1732-1806) François Duquesnoy Pier Francesco Mola mort 1726 ݶၝ ਯउ from Plymouth, England to the ᦡᦇ 1646 Francesco Borromini ᦕ୯ ҂ ኞڊ ᇿᒈ (1597-1643) élève ݑᵟԭ ᮛӞ໗ҁ ӗ ҂ 1633.11.12هಥᦊរ 1648Bruxelles (1612-1666) fille 1650 1686 1772 ໶Ⴔ ҁ1623---1697҂ mort New World in 1620 invite en France 1664 (1599-1667) Giovanni Battista Passeri Giovanni Paolo Panini, c.1692 1771 Georg Philipp Rugendas 1690 《中国显贵驾鑼图》1696 Robert Robinson (?-1706) Mayflower Claude Gillot (1673-1722) élève (1610-1679) ӗ mort élève 1765 (1666-1742) ӟԯỨ ҁ1547ӗ1628҂ ୽ߥ 《坤舆全图》 mort 1674 1722 ௗكFu-Tsung) ಛ૞) 1684 《征服中国》 Elkanah Settle (1648-1724) William Hogarth (1697-1764) Richard Wilson (painter) 1790 Antonio Gherardi (1638-1702) ҅ 1691 collaboration mort (1593 Ercole Ferrata (1610-1686) ᄞꂀᒍҁ ҅૵՗ ਟଫจҁ1587҆1666҂ 《天뷥开物》，1637 Ἆై ҁ ҂ ҁ ӗ ҂ 1624 (Poussin) Giuseppe Panzi 1687-1770 1714 1782 1640 (Poussin) ҆ élève 《欧洲天ই学》（Astronomia Eu- ܖ஽Ռ 1751 ҂ڹFrançois Boucher (1703-1770) 1652/1653) Ferdinand ଙ҆ ଙ ኞڊ ᵟ֧ 1704-1705 1761 ropaea,1687） 1734 1812 Élisabeth Stuart (1596-1662) 《中国婚礼》1742 Jean-Marc Nattier (1685-1766) 1789 ҁ ҆ ҂ 最早的中国传教胫之Ȁ ኞڊ۹ሴ៰ܖ Verbiest 1623 1688 Alexander Pope (1688-1744) rencontre 16801680 ๫ොᛉ(1695ӗ1755) 1728《愚⊺志》 Jean-François de Gondi վ֎ 1639 Antonio Raggi (1624-1686) ᮧ຃໫ҁ ҂ 进胫 《梳妆室》 (1584-1654) Joseph Vernet (1714-1789) 1633 ೶݋ 1693-1765 1736 Allan Ramsay (1713-1784) 1742 Claude Mellan (1598-1688) 1616-1617 1607 ਞ஛Ԏҁ 톎在澳凨加⥥天主教 Thomas Girtin (1775-1802) élève invite] Joannes ޓܲҁ1632—1718҂ 1682 amis 16231644 1634 1732 Naples 1665 1781 Damascenus Salusti҂ ሠኮ 《鸡䟛扫-中国和⽼老老挝的⼥女女神像》 (1590-1649) Giovanni Francesco Romanelli පճ Antoine Watteau (1684-1721) ҁҘ-1781҂ 1613 The Council of Trent Né et mort (1610-1662) 第Ȁ位中国籍耶稣会神甫 Fondé en 1391 ᮧሸ᧚ (1545-1563) ਍ԟ Travaille dans l'atelier ๫漻 ҁ1686-1756҂ L'Académie de Saint-Luc വ᯿ Manufacture desné Gobelins 1750 1634-1644 《王泮题识舆地图朝鲜摹绘增补 ሴံ ࿵ॊైҁ ҂ le premier archevêque de 1753, les ports de France 1600 1686—1759 1748 ᝁ૞଱വਥ 1601 amis Reformé en 1655 et 1668 本》1603-1626 René Descartes (1596-1650) First painter of the king ᜑސ᠃ Ignatius Damascenus ጮท ݶ֎ ᪙ᵋ ઽৼம ҁ1594-1644҂ 《》 1665-1668 ಥᦊ Joachim Bouvet ੇ੷ 中国⊺物近况》，1697 1619 Salusti ҁ1708-1780҂ ᰂ١ҁ1687—1763҂ 扬州⵫怪之》 1540 Pierre Nicolas d’Incarville Académie des sciences 1666 Supprimé en 1777 Partage un logement (1656-1730) ୽ߥ ԡဩᖀಥ ᘌ૵ 1584 《中国漆考》 1702 17611568-1570 Jean-François Gerbillon ҁୟ John HU 1711 ݋Ո (1706-1757) 1624 demande ັॊຽҁprofesseur 1615--1698҂ ಛ૞ ஏ୞ ӟᥡỲ 1582 ៰ٌ฀ҁၞੇ ҂ 1693 ᦻ 1654-1707҂ ӟᥡỨ ҁҘ-1770҂ 1555—1636 ݋Ո Louis XIII (1601-1643) 1610-1643 (1593-1670) ૵՗ 1625 ᗔේ 1710 ୞୞ ᩶ૢҁ ҂אֵڊ ᑕୌᦓ ᬬࢧᗔḘސ commande Élisabeth Vigée Le Brun 1641 1618 ᗔᘷҁ1733-1799҂ 1644—1573 1607 ؟ኮګné 1614 ᕲ 1713 Charles de La Fosse François Leymoyne Cabinet1760 of curiosities in Paris, (1755-1842) 1704ଙ଼ᆦᐬᎯ ὅᨲ ҁ ҂ 1734 1618—1689 ṛᗼҁ1688--1753҂ (1636-1716) (1688-1737) 1630 ࢵሴහ਍૵ ޓਡҁ1615 —1680҂ ᐙᔁ 1641 1643-1715 অ݋ ”Louis XIV (1638-1751) 1655 ᥭᥠ ݶ֎ “ॠӥԫ܎ 1717 ኞڊ inviter ၖ ၞੇཾکଃ ܋ԫӮᐺՈቊਪ᛼ amis 1685 Thomas Pereira எ෭ێ಑ۙᚥ 1587 né ޮՄૡҁ1612ଙ—1672ଙ҂ མ࣌ ҁ1616-1694҂ ܖՂ ๫ၞᜱҁ1575ӗ1629ଙ҂ 1700톎法国宫廷上演名为“中国皇 Paris ET IN ARCADIA EGO ҅ ݾᄟҁ ҂ ҁ ӗ ҂حChorles – Antoine Coypel 1715-1774 1629 1648 ᐬྊ ҁ1645-1708҂ 1621-1706 ᴯᖀ ኞڊᇳ 톎间前往东印度和 봷䷠彁五（1710－1774） 1645-1647 1641 1773 ૵՗ 1558 1639 》 1774 1781 帝”戏剧 (1638-1640) 1707 1601 অ݋ (1688-1737) mort 1744 1618 1582 ೰੕ 中国的旅程》 Pierre Sonnerat ఘՈ ׇ੷ ኞڊ 1630First chef Painter assistant of the King ៿݋Ռ ҁMichel Benoist҅ 1606 1601 1658 1630 ๷෈ᘺҁ1596—1646҂ ๏݋߶ ଡ଼ Ռҁ ҂ 1572-1610 Henri IV 1553-1610 봷䷠彁六 1774-1791 ᠝૬๱ॢՈҁMadame de 1715-1774҂ 1610-1664 ᴯ۹ઽ ܏ՃҁՔӤၹຂ࿯҂ܖ 1680 né Pompadour҂ҁ1721-1764҂ “ ” ࡱਧ Philippe de Champaigne Gaspard Dughet (1615-1675) 1659 ೘૵ ኞڊ élève Ꭺႆҁ Ӟᕅ ҂ ṛઔҁ1621-1691҂ (1602-1674) proteger 1664 visite 1643ଙ ഴᦫ ᕪኧଠӳᬬࢧဩࢵ 1642 1707 ᝁ૞ 1628톎1✈“嘉定会议” ׇ੷ 1705 Jules Mazarin (1602-1661) coussin ᜠდ1645 Jardin du roi, 1635 principal ministre d'État 1642 1684 ਃ᭥ ᕅ Frères Le Nain mort 1650 1641 1756 ᝁ૞଱ॡՙ (1604— 1658) 1648 փಥ mort 1623-1625 premier peintre du rois 1642 mort ሴ෸භҁ ଙ҂ Catherine Girardon Transaction failed, 1637 1682 1592-1680 ᑕࡱᆴҁ ӗ ҂ ኞ 1565 1643ڊ la première femme admise Ӿଙ૵՗ أࢥڡ1661톎重组 Prix de Rome, 1663 (1594-1665) Ⴔ (1630-1698) Académie royale de peinture ୟਤ᜿ҁ1686—1756҂ 《吴中彁六景》 épouser 1657 1663 et de sculpture mort mort 姑孰画派 ២ԯ՗ ӗ Salon, 1737 (1596 1673) ኞڊ ඪ೮ The crossing of the Red Sea French East India Company 1670 ኞڊ 1628 François Girardon (1628-1715) né planned Jean-Baptiste Colbert (1633-1637) ้੷ ኞڊ ṝ ྜҁ1636 ҂ (1619-1683) [kūn] 1612-1692 ૵՗ Horace Le Blanc (1575-1637) 1737 Sébastien Bourdon cofondateur 1744 1657 collaboration professeur amis Abel-François Poisson, Né et mort 1614ଙኧᰂੰᴁଃࢧᗔḘຣଫቘ ਃৼ ሴ嬾ҁ ҂ 《康熙南巡图》1691 (1616-1671) Michael Alphonsius Shen Fu- ᪙ᵋ Philippe Couplet 1632─1717 Jacques Blanchard Marquisᩒۗ de Marigny Sous la direction Académie des sciences, belles- 1663 ᴯၒᖎҁ1599ӗ1652҂ ෈சกҁ élève né Tsung (1657-1692) (1624-1692) 1470.11.28— (1600-1638) (1727-1781) lettres et arts de Lyon 1700 ླොၧ҅ਁՔ໴ҁP.Francois ེৼ First Painter of the King,1662 1610 1559.3.28҂ (1619-1690)mort 1681 ᩒۗ Sambiasi҅1582҆1649҂ Giovanni Antonio Magini ᵌ੷ Gérard Audran (1640-1703) 1642톎发表ᦺRelatione della Alvaro de Semedo ้஛ᆙ 1604 《平뽢三᧒测㵾》 François Perrier (1594-1649) (1555-1617) ᠗ቱҁ1585-1664҂ ኞڊ Academy of France at Rome, élève 1629 grande Monarchia della china ҁ1585–1658҂ ෈ࡱҁ1501ӗ1583҂ 1729 1666 élève Michel Anguier (1612-1686)1754 1603 ੦෈ᬄҁ ๺૞ ৼد Nicolas Lémery (1654-1715) Emanuel Pereira, 톎为ꗝ玛窦绘制的画像 Martin de Charmois 1681 (Fu-Tsung) 1610 ሴܻᐔ ҁ ҂ 1648톎1✈20ᷥ 1575-1633҂ 1642-1715 ࠺ҁ1554ӗ1589҂ 1689زᩒۗ 1737 ᗔกࣙ ෈ (1605-1661) Michele 《葡汉词典》 Manufacture nationale de Sèvres Manufacture de Vincennes 1610 ਍ԟ ৼد Cours de Chemie, 1675 Ruggieriҁ1543҆1607҂ ኦҁ1633-1690҂ܖ௼ 1634 يᕨ 1740 1756 1579 ᄞꂀᒍ(Joseph Panzi҅1733— ෈՗ᓌҁ ଙ ଙ҂ frère Charles-Alphonse Du Fresnoy 1574 —1648 ҅ ଙ๶܏ ኞڊ ( Traité de l'Antimoine, 1707 ૬᝜ၧ 1812 1771 (1611-1668) 톎与罗明坚献分⩲三棱镜 Francesco Pasio Macao ኞڊ ෈ቲ҅ᕅܙ Laurent de La Hyre amis 1582 (1554-1612) 1576 -1655 ૵՗้Ấҁ1564ଙ҆1647ଙ҂ دHU) ঀ) 1722 (1606-1656) Pierre Mignard (1612-1695) Étienne Maurice Falconet 1688 1599 1606 1619 (1716-1791) 把中国带回欧洲的第Ȁ⊺ ଲᬻ౯ҁ ᆢӣ೑ҁ ҅ ᗔᵝᨕҁ ҆ எჇҁ1521—1593ଙ҂ François Anguier (1605-1669) Quentin de La Tour Diego de Pantoja, Sabbatino deUrsis Giacomo Rho 1593 ෈㭴ҁ1595҆1634҂ ҂ ҂ 《测㵾全义》 (1704-1788) 疑为෪杀 Nicolas Trigault (1577-1628) 1571-1618 1575-1620 1638҂ Charles-Nicolas Cochin 1597 ᐶ୏҅ ଙᬬࢧ ଙ ์ ꗝ玛窦中国札记 (1715-1790) 1578 1598 1765 7 1589 1534톎成틋于巴黎 ᘨᑝտ ଠӳ௛፽ᴯታ 1584被罢黜 তՈڠ ᗔᘋ೉նᕑᆾSan Ignacio de save (as emetic), 1666 forbidden mort ሴᰄҁ1598-1677ଙ҂ ๟ᘩҁ ᕅ ଙ҂ 1626— 1705 ୟታࢶҁ ҂ Loyola (1491-1556) 1720톎成틋 1570-1644 Ḧᄳف׍ઉᳪ०ᨳ̵1535ଙفMateo Cerezo (1637-1666) 1517ཿ ᳪ 1822톎11✈鄧呫灾 ଠ૞܈ӣᤈ ڥ᯾ේ๜ 1656ጭ᛼ George Chinnery ᰸ᕑ ኞڊ 《peintre officiel de la cour (pintor Juan Carreño de Miranda 1807톎，《审判“�王星号”船员 élève ҁ ҂ de Cámara) 1598 1774 – 1852 ܖ฀ 滕王阁 (1614-1685) 1522҅Ἀ߽ևሾ჋Ӯኴ Athanasius Kircher ୽ߥ 1667, China Illustrata ਍ኞ 1618 (1602-1680) ୀ૞଱Ꭳ଱ ԗ฀ Lam Qua ᩈႴးҁဩ᧍ғLouis Antoineى ਫ਼๼ҁܗAndreas Libavius (1555҆ ॿݘॊӟ҇ ᇲ஛ᗔDenis Diderot҅1713҆ Auguste ҁ ҂ ҅ ଙ҆ ଙ҂ 1616) 1801-1860 de Poirot 1735 1813 胡椒垄断计划 （ ） Francisco Collantes Borget҅1808 – 1877҂ 1504 “ ” Manuel Ier 1495-1521 1784 Velázquez ҁ1599҆1660҂ (1599-1656) 1770 Claudio Coello (1642-1693) 1634 ท࿯ 1757톎到1842톎成为唯Ȁ通商矣 Portugal Vannocio Biringuccio (c. 1480 – ҁ ҂ 톎，葡萄湙国王䥒令耶稣会在 1623 De la pirotechnia, 1540 Guangzhou Canton 岸 1759 mort c. 1539) 境内的宗教活动 腓⼒力力四世 (ᅿ班湙) ଠӳୀ૞ Francisco de Zurbarán (1598– Né et mort Juan Bautista Morales ݥᨬᵼ 1774톎的画作 ໗຋ (1664 ne 腓⼒力力᪌世（ ） (1597-1664) শୀ·Ԅੰਫ਼(Willian Daniell 1640ଙ҅៯។ᇌ൳ᚙᥜቔᇌ 1527-1598 The Triumphant Chariot of 1749—1840) élève Antimony (1604) Antimony (Anti-moine) ᳪႴޯ Amoy Chinqua 有资斾表明1716톎到过印度ܿ ܄ኞԭᧆරڊ -Académie royale des beaux Charles III (1716-1788) 1756-1788 discovery of the biggest antimony arts Saint-Ferdinand 1744 mine, 1541 Madrid ከၹયഔ឴៯។ legend ᲟᎯઊمଙ҅Ḙ 1602 Charles II (1661-1700) 1665-1700 ᦯ظ೉ظ᛼҅ና࢏឴ظ೉ظᇌ

ԏᑍ 1585 荷兰 强占台湾 Bartolomé Esteban Murillo fonder 1624 Ferdinand VI (1713-1759) Basile Valentin Johann Thölde (1565-1614) 1556҅̾ٮ1617ӗ1682) Georgius Agricola ̽ᦞᎯ) 1569出版《中国论》（Tratado (1494-1565) 1642톎荷兰⊺驱逐ᅿ班湙 ） Carlos IV (1748-1819) ኞ 1626 Taiwanڊ ॊ, das cousas da ChinaץGaspar da Cruzग़ก౯տ Le Greco (1541-1614) ҁᕅ1520-1570҂ ᒫӞձ໊ᳩ Vincenzo Carducci 1763 1662톎 郑成功收复台湾，成功赶 톎在퉿州逗旍 个✈ mort 1556 1 (1576-1638) 浰盘踞台湾的荷兰⊺ 1556 1789਴ꂀኮ૵ José de Ribera (1591-1652) 那㕧䥒斯总督席画师 Séville l'école de Séville,1660 Tolède

Franciscovde Goya 1808法军⥥侵 (1746-1828)

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110 111 5 6 Cheng Ran

Title: Before Falling Asleep, Part 1: The River and The Pond Dimensions: 5’55” Material: Video Year: 2013

7 112 113 Mounir Fatmi

Title: Before Falling Asleep, Part 4: The Butterfly and The Flower Dimensions: 4’53” Material: Video Year: 2013

Title: Where Does the Wind Come From? Material: Video, Tires, Clothes, Blue Leather Pad Dimensions: Variable Year: 2017

114 115 Tamir Ma Zadok Wenting

Title: “Everything” Series Title: Art Undercover Material: Simulated Crow, Material: Video Building Bricks Dimensions: 27’ Dimensions: Variable Year: 2017 Year: 2017

116 117 Title: Chasm Title: Nowhere to Locate Material: Oil Painted on Canvas Material: Oil Painted on Canvas Dimensions: 200×280 cm Dimensions: 100×120 cm Year: 2017 Year: 2017

118 119 Pu Yingwei

Title: Atlas-Fetish About Exotic Culture Material: Collection Level Print Dimensions: 10×7 mm Year: 2016

Title: Geo-Mapping Journey Material: Acrylic on Wood,Ink on Paper, 19th Century Stamps Title: Transparent Marry Material: Video Dimensions: 100×65 cm Year: 2018 Dimensions: 46×198 cm Year: 2018

120 121 Title: Montage of the Photos - Symptom of the Memoir Material: HD Color Video, No Sound Dimensions: Variable Year: 2017

122 123 Title: Roman Nomade and An Unknow Journey - A Brief History of Colonist Dimensions: 9×13.7 cm Material: Postcard from 19th Century Year: 2016

124 125 Title: French Film 1 Material: HD Color Video with Actual French and Chinese Subtitle Dimensions: 30’ Year: 2017

Title: French Film 2 Material: HD Color Video with Actual French and Chinese Subtitle Dimensions: 30’ Year: 2017

Title: Prints Depicting the Chinese Living Room in the 19th Century Material: Copper-Print Papera Year: Unknown Dimensions: 20×30 cm

126 127 Title: Memory Video – Ballad of Contour Material: Single-Channel Video, Colour, Sound Dimensions: 5’51’’ Year: 2017

Title: The Western Guest, Marianne Material: Black Iron Sculpture Dimensions: 40×20× 20 cm Year: 2017

128 129 Li Linlin

Title: Reconstruction Series-My Songs From Heart Material: Wood, Concrete Iron, Iron Sheet, Animal Specimen, Human Skeleton, LED Lights, etc. Dimensions: Variable Year: 2019

130 131 132 133 Curator: Huang Mei

Curator Assistant: Lyu Chaoqi

Photographer: Huang Yachen & Dai Ruoying

Catalogue Designer: Laura Scivoli Exhibition Material Visual Design: He Zhao

Artist Assistant: Wang Qidong

English Proof Read: Phillip Bruff

Artifacts Repair& Remake: Pang Yong

MOCA Yinchuan Team

Director: Liu Wenjin

Artistic Director: Lu Peng

Deputy Director of Administration: Wang Xuechuan

Exhibitions Department: Zhao Ziyi, Chen Jianxin, Liu Yi, Qian Luyao, Wang Xiaorong

Public Relations: Zhang Yun, Ma Jinlin,Yang Xiaobing, Zhu Xuejun, Ban Yuanyuan

134 135