DOCSLIB.ORG

ASSOCIATION of ART HISTORIANS Registered Charity No

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

November 1992 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 2825 79 Editor: Clare Pumfrey, 40 SillwoodRoad, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Kate Woodhead, Dog and Partridge House, Byley, Cheshire CW10 9NJ Tel: 0606 835517 NEWS REPORT EXECUTIVE UPDATE At its busy 104th meeting in September the very much that a wide-ranging policy (with Professor Eric Fernie in the Chair) Executive Committee discussed a number document will be available for discussion has now been published. Professor Benton, of important matters. at the next AGM in April. Meanwhile, I Dr Elam, Professor Kaufmann, Professor would very much enjoy hearing from Onians, Professor Podro, Professor Pointon A new Editor for Art History individual members or from other readers and Dr Tickner will consider submissions The Executive was delighted to ratify of the Bulletin with views on AAH policy from some 45 institutions (relating to well formally the Editorial Board's nomination in the following areas: How should the over 300 individuals) before reporting to of Marcia Pointon to succeed Neil AAH behave in the public realm - as a the Universities Funding Council. McWilliam as Editor of the Association's pressure group on government and Those of you who were at Leeds will journal Art History. Professor Pointon institutions? How active should the AAH remember that it was agreed that the identity attended the EC and outlined her initial be in the international arena? How should of those nominated by the AAH should plans for the j ournal. She will serve for five the AAH be organised - on a democratic remain confidential. I can say, however, years and will be submitting detailed base but needing to be effective that it is clear that the Association's thoughts proposals regarding the management of (professional?) in its management? How on the matter were taken very seriously by the journal to the Editorial Board when it should the AAH foster the history of art as the UFC and that the panel reflects in a meets in October. The new Editor also an intellectual activity? most encouraging way the views that were paid tribute to the work ofher predecessors, Other issues may come to mind; if so, put forward in our discussions last April. I John Onians, the founding-Editor and, more please do raise them. wish to make it clear that there is no truth recently, Neil who (in the words of the in the rumour that the AAH was ignored. outgoing Chair) 'showed great dedication CIHA The Association has also responded to a to the highest professional standards' in his Following decisions taken at the Berlin consultation paper issued in the summer by time as Editor. conference of the Comite International the Higher Education Funding Council for d'Histoire de I'Art the British CIHA England on The Funding of Research. In Future strategy committee is re-constituting itself as an our submission we stressed that a substantial Several reports and other items taken at the affiliated body of the AAH. Full details percentage of the Association's member• September meeting related to a wider should be available well before the April ship is actively engaged in research in the discussion now taking place on the AGM at the Tate Gallery. history of art and that many individuals are Executive. This business was encouraged employed in institutions currently in receipt by Theo Cowdell's paper in Bulletin 45 Research funding of funds administered by the HEFCE. We and will be the subject of a special EC to Members who attended the Leeds con• welcomed the principle that any future take place in November. With the AAH ference will remember the steps taken to funding method should be dynamic, as it is almost 20 years old there is clearly a feeling nominate those the AAH wished to serve clear that the essentially retrospective nature both on the EC and amongst the member• on the Art and Design Panel set up by the of the Research Assessment Exercise might ship as a whole that the main aims of the UFC/PCFC to conduct its selectivity prejudice that nurturing of new approaches Association need to be reassessed. I hope exercise. The membership of the panel and areas of interest that has been such a NEWS REPORT marked characteristic of our discipline in Royal Holloway & Bedford New they write to the Secretary of State, the recent years. We particularly welcomed College Attorney General and to the Charity the existence of a (too small) element of The College is pressing ahead with its Commissioners registering appropriate 'development' money outlined in the proposal to sell three pictures (by concern. Further details may be obtained proposals as a means of offering some Gainsborough, Turner and Constable) from from Warwick Gould, Royal Holloway & protection to small bands of researchers the founder's collection in order to finance Bedford New College, Egham Hill, Egham, spread across a very large number of a building programme. To general Surrey TW20 OEX, to whom copies of all institutions. In addition, we stressed the astonishment, the Charity Commissioners correspondence should be sent. importance of protecting essential national have given the scheme their approval and resources, such as the photographic libraries in response Professor Jonathan Riley-Smith Nigel Llewellyn at the Courtauld and Warburg Institutes, (a brave member of the College) has lodged Chair from crude applications of funding models an appeal with the Ombudsman. The fight driven only by student numbers. Finally, now moves to Government circles and to the Association put the view that it would the House of Commons. Please all write to welcome the introduction of a Humanities your MPs telling her or him that you know Research Council funded by the HEFCE. of Riley-Smith's Appeal and urging that BERLIN CONFERENCE REPORT It was clearly difficult to convince members the preservation of monuments' were splendid garden party given by the Getty of the AAH that 3000 art historians of popular subjects. Moreover, the pro• Trust for Congress lecturers. The good diverse cultures and language skills might gramme was wisely broadened to give the weather was particularly welcome for the meaningfully debate ideas or problems of assembled experts opportunities to discuss Saturday sight-seeing excursions. Having mutual concern, as the XXVIII International topical areas of concern, such as the opted for Dresden, I was impressed by the Congress in Berlin (15-20 July 1992) was 'Museumsinsel',the 'Piero project' and, of superbly organised trip. Moreover, senior attended by few British art historians not course, the Rembrandt 'authentication'. local experts were at hand to explain their presenting a paper. Only the museums were As might be expected at such a rebuilding programmes for the opera and well represented, with delegates predictably conference, the papers were of varying the castle area, and to discuss problems and attracted by the intense debate concerning standard, yet few of those that I heard could progress. Official support was equally the 'Museumsinsel' in Berlin. Challenging be called uninteresting or even frivolous, pronounced in Berlin; Federal President contributions (from Eastern European and several were of undoubted significance Weizsacker and Burgomeister Christine colleagues in particular) certainly would to art history. It was often more difficult to Bergmann spoke at the opening ceremony, have deserved the attention of British secure productive discussion contributions and the Berlin Senate and Museums hosted scholars. Instead, it appears that enthu• from the floor. There was a notable receptions for all the participants. The siastic German students were invited to fill tendency for certain established scholars to newly built ICC Congress Centre offered up their places. try and deliver the paper they felt they excellent facilities, especially for speakers, Under the umbrella of 'Artistic Ex• should have been asked to present. with ample room for exhibitions, a book change ', the organisers assembled a lecture However, more useful input often revealed fair and auxiliary presentations. Only the programme of impressive diversity. profound knowledge and led to some really inability to provide sufficient staff to sell Research presented for debate, and to be exciting debates and, at times, to new coffee during the short breaks put a small published later this year, ranged from the insight. Indeed, on one occasion an spoke in the well-oiled organisational peregrinations of medieval artists to the impromptu dash to the home of a Berlin wheels. 'crossroads of avant-gardes', from the professor permitted our heated dispute to western influence on Islamic architecture continue profitably over improvised lunch Brigitte Corley and Japanese painting to the 'ethnicity and in his garden. national identity in the history of new world The idyllic location for debate was, of art'. The internationality of photography, course, made possible by the perfection of film and video was also traced in interesting German Congress planning, which even contributions. In Berlin4new metropolitan included the provision of hot sunshine architecture' and 'the role of art history in throughout - except during the rather 2 NEWS REPORT THE AAH AND AUSTRALIA Members of the AAH who attended the 'How Dogmatic was Le Brun?', 'Women, interests lie in both Australian and Leeds conference in April this year will the Nude, and the Academy', 'Academ• international topics. recall the interest generated by the academic icism in Chinese Oil Painting.. .in the 1980s' AAH members are offered the section 'Australia' organised by Terry and 'Colonials Kill Artfully'. Australian Journal of Art at a discounted Smith. Following Leeds we have decided Volumes VII, VIII (1989/90) and IX individual rate of AUSS10 per issue post to encourage better links between the AAH (1991) of the Australian Journal of Art free to AAH members (please make and the Art Association of Australia by have also been published.
Recommended publications
  • Bibliography Innovative Landscape Painting in Britain

    Bibliography Innovative Landscape Painting in Britain

    Bibliography: Innovative Landscape Painting in Britain: Bibliography: Innovative Landscape Painting in Britain: General bibliography, followed by bibliography specific to J.M.W. Turner and his work, followed by a selection of critical works regarding the ideas of inspiration, subjectivity and the primacy of the individual. (Items marked HL are in Herefordshire Libraries. Items marked pdf are available on request.) Malcolm Andrews. Landscape and Western Art, Oxford University Press, 1999. Andrews (ed.). The Picturesque. Literary Sources & Documents, 33 volumes, Mountfield, East Sussex: Helm Information, 1994. Carl Paul Barbier. William Gilpin: his drawings, teaching and theory of the picturesque, Oxford: Clarendon Press, 1963. W. Barns-Graham Retrospective 1940-1989, City of Edinburgh Museums and Art Galleries, 1989. John Barrell. The Idea of Landscape and the Sense of Place 1730-1840. An Approach to the Poetry of John Clare, Cambridge: Cambridge University Press, 1972. Barrell. The dark side of the landscape, Cambridge: Cambridge University Press, 1980. Isaiah Berlin. ‘Romanticism and Nationalism in the Modern Age’, The Proper Study of Mankind. An Anthology of Essays, London: Chatto & Windus, 1997. Nicole L. Boivina,b,1, Melinda A. Zederc,d, Dorian Q. Fuller (傅稻镰)e, Alison Crowtherf, Greger Larsong, Jon M. Erlandsonh, Tim Denhami, and Michael D. Petragliaa, 'Ecological consequences of human niche construction: Examining long-term anthropogenic shaping of global species distributions’, edited by Richard G. Klein, Stanford University, Stanford, CA, and approved March 18, 2016 (received for review December 22, 2015) Proceedings of the National Academy of Sciences of the United States of America, vol. 113, no. 23, 6393, June 7, 2016. John Bonehill and Stephen Daniels (eds.).
  • University of Cambridge

    University of Cambridge

    Painting in Britain from Hogarth to Turner Mark Hallett Yale in London Summer 2014 1 PAINTING IN BRITAIN FROM HOGARTH TO TURNER The course examines painting in Britain during a period of remarkable artistic and cultural change. It looks in particular at the relationship between painting and different forms of artistic display, performance and self-promotion in the Georgian period, and offers close readings of individual practitioners and their works. The course begins with the emergence of William Hogarth as a leading figure within the mid-eighteenth-century British art world and looks in detail at his pictorial series, his portraits and his conversation pieces. The course then moves on to investigate the emergence of a new ‘Age of Exhibitions’ during the 1760s and 1770s. This was a period dominated by the annual displays of contemporary painting held by the Society of Artists and the Royal Academy, and by the portraiture produced by Joshua Reynolds and Thomas Gainsborough, whose works in the genre are studied in depth. The course then investigates the rise of the one-man exhibition in the 1780s and 1790s, before turning to the work of David Wilkie, and exploring the reasons why the kind of genre painting in which he specialised become so celebrated in the first decades of the nineteenth century. Painting in Britain: from Hogarth to Turner ends by studying of the work, careers and exhibition histories of two of the most ambitious landscape painters of the early nineteenth century, J.M.W Turner and John Constable. PRELIMINARY READING:
  • Craig Clunas to Present Chinese Painting and Its Audiences for the 61St A

    Craig Clunas to Present Chinese Painting and Its Audiences for the 61St A

    Office of Press and Public Information Fourth Street and Constitution Av enue NW Washington, DC Phone: 202-842-6353 Fax: 202-789-3044 www.nga.gov/press Release Date: February 15, 2012 Craig Clunas to Present Chinese Painting and Its Audiences for the 61st A. W. Mellon Lectures in the Fine Arts at the National Gallery of Art, Washington Craig Clunas, prof essor of the history of art, Univ ersity of Oxf ord, and 61st A. W. Mellon Lecturer in the Fine Arts Washington, DC—Craig Clunas, professor of the history of art, University of Oxford, will present the 61st A. W. Mellon Lectures in the Fine Arts series, entitled Chinese Painting and Its Audiences, this spring at the National Gallery of Art in Washington. The series will include the following lectures: Beginning and Ending in Chinese Painting March 11 The Gentleman March 18 The Emperor March 25 The Merchant April 1 The Nation April 15 The People April 22 All lectures take place Sunday afternoons at 2:00 p.m. in the East Building Auditorium. The programs are free and open to the public, and seating is first come, first served. Craig Clunas is only the second Mellon Lecturer to turn to China for his subject. The first was Lothar Ledderose, whose 1998 series was published as Ten Thousand Things: Module and Mass Production in Chinese Art. Clunas' starting point is a statement by Ernst Gombrich in Art and Illusion—the best-selling volume based on Gombrich's own 1956 Mellon Lectures—about the work of the mind of the beholder in completing the forms so briefly suggested by the brush in Chinese painting.
  • Ming China: Courts and Contacts 1400–1450

    Ming China: Courts and Contacts 1400–1450

    Ming China: Courts and Contacts 1400–1450 Edited by Craig Clunas, Jessica Harrison-Hall and Luk Yu-ping Publishers Research and publication supported by the Arts and The British Museum Humanities Research Council Great Russell Street London wc1b 3dg Series editor The Ming conference was generously supported by Sarah Faulks The Sir Percival David Foundation Percival David Foundation Ming China: Courts and Contacts 1400–1450 Edited by Craig Clunas, Jessica Harrison-Hall This publication is made possible in part by a grant from and Luk Yu-ping the James P. Geiss Foundation, a non-profit foundation that sponsors research on China’s Ming dynasty isbn 978 0 86159 205 0 (1368–1644) issn 1747 3640 Names of institutions appear according to the conventions of international copyright law and have no other significance. The names shown and the designations used on the map on pp. viii–ix do not imply official endorsement Research and publication supported by Eskenazi Ltd. or acceptance by the British Museum. London © The Trustees of the British Museum 2016 Text by British Museum staff © 2016 The Trustees of the British Museum 2016. All other text © 2016 individual This publication arises from research funded by the contributors as listed on pp. iii–v John Fell Oxford University Press (OUP) Research Fund Front cover: Gold pillow end, one of a pair, inlaid with jewels, 1425–35. British Museum, London (1949,1213.1) Pg. vi: Anonymous, The Lion and His Keeper, Ming dynasty, c. 1400–1500. Hanging scroll, ink and colours on silk. Image: height 163.4cm, width 100cm; with mount: height 254.2cm, width 108cm.
  • The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome

    The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome

    ABSTRACT Title of Document: THE LANDSCAPES OF GASPARD DUGHET: ARTISTIC IDENTITY AND INTELLECTUAL FORMATION IN SEVENTEENTH-CENTURY ROME Sarah Beth Cantor, Doctor of Philosophy, 2013 Directed By: Professor Anthony Colantuono, Department of Art History and Archaeology The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet’s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet’s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet’s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century.
  • Curriculum Vitae Lawrence Peter King Professor of Economics November 2017

    Curriculum Vitae Lawrence Peter King Professor of Economics November 2017

    Curriculum Vitae Lawrence Peter King Professor of Economics November 2017 ADDRESSES Department of Economics University of Massachusetts, Amherst Gordon Hall 418 N. Please St. Amherst, MA 01002 Email: [email protected]; [email protected] Office Phone: (413) 577-1605 Website: www.lawrenceking.net PERSONAL DATA Place and date of birth: Halifax, Canada, October 20, 1966 Partner: Alison Pollet Children: Theodore King-Pollet, born 2006; Elizabeth King-Pollet, born 2009 Citizenship: USA, UK JOB HISTORY Present position: Professor of Economics, University of Massachusetts, Amherst (2017-) Research Associate, Centre for Business Research, Judge Business School (2015-) Former positions: Professor of Sociology and Political Economy, University of Cambridge (2012-2017) Fellow of Emmanuel College (2006-2016) Reader in the Department of Sociology, University of Cambridge (equivalent to a Full Professor in the U.S. system) (2006-2012) Associate Professor of Sociology, Yale University (2004-2006) Assistant Professor of Sociology, Yale University (1997-2003) 1 ACADEMIC QUALIFICATIONS Ph.D. in Sociology, University of California, Los Angeles, 1997 M.A. in Sociology, University of California, Los Angeles, 1992 B.A. in Political Science, University of Michigan, Ann Arbor, 1989 (with High Honors and Highest Distinction) FIELDS OF INTEREST Comparative Political Economy, Political Economy of Health, Development, Comparative Historical Sociology, Postcommunist Transition, Methodology, Theory, Complex Organizations, Industrial Organization CLASSES TAUGHT
  • Library Catalogue, 2020-21,Part 1

    Library Catalogue, 2020-21,Part 1

    DEPARTMENT OF THE HISTORY OF ART AND ARCHITECTURE, TCD, LIBRARY CATALOGUE, 2020-21, PART 1 L’ABBAYE S. WANDRILLE DE FONTE nos. 9-15 (1959-65); no. 17 (1967); no. 19 (1969) M19-M27 ABSTRACT PAINTING: see Michel Seuphor WADD 1 (Seminar Room) ABSTRACTION: Towards a New Art-Painting 1910-20 London, Tate Gallery, 1980 Introduction by Alan Bowness MO47 PATHS TO ABSTRACTION 1867-1917: Edited by Terence Maloon In association with the exhibition ‘Paths to Abstraction 1867-1917’ 26 June-19 September, 2010 Published by Art Gallery of New South Wales Sydney, 2010. (Donated by M. Johnson) (Seminar Room) MO282 (Seminar Room) ACADEMIES, MUSEUMS AND CANONS OF ART: Edited by Gill Perry and Colin Cunningham From series Art and Its Histories Published by Yale University Press, New Haven and London in association with The Open University, 1999. AH155 THE GALLERIA DELLA ACCADEMIA FLORENCE: Guide to the Gallery and Complete Catalogue By Giorgio Bansanti, Director of the Gallery Published by Editrice Giusti di Becocci & C. e. Scala, Instituo Fotografico Editoriale, SpA, Firence, 1990 AGM 2 ACKERMAN: James S. Palladio By James S. Ackerman Published by Penguin Books Ltd., London, 1991 (Donated by anonymous donor) R175 (Seminar Room) ACKERMANN: M. Max Ackermann Gemälde 1908-1967 (Paintings) Mittelrhein Museum Koblenz 2 September -29 October, 1967 (Gift of Anne Crookshank) MO253 (Seminar Room) 1 ACTON: M. Learning to look at Modern Art By Mary Acton Published by Routledge, London, 2004 (Gift of Ben Power) AH178 ACTON: M. Learning to look at Paintings By Mary Acton Published by Routledge, London, 2001 (Gift of Ben Power) AH188 ADAMS: B.

  • Claude Lorrain's Pastoral Landscape (1645) at the Barber Institute

    Claude Lorrain’s Pastoral Landscape (1645) at the Barber Institute Pastoral Landscape, Claude Lorrain (1604/05-1682),1645, oil on canvas, x cm © The Henry Barber Trust, The Barber Institute of Fine Arts, University of Birmingham (No. 53.6). Transcript Hello and welcome to this week’s Tuesday Talk, part of a series of podcasts given by staff and students at the Barber Institute of Fine Arts, at the University of Birmingham. I’m Robert Wenley, Deputy Director at the Barber Institute, and I’ll be talking today about the history of one of the most sublime paintings in the Barber’s collection, Claude Lorrain’s Pastoral Landscape of 1645 [No. 53.6]. This was treated by the conservator Ruth Bubb over the winter of 2019/20, and returned to the Barber just at the point we had to close, last March. One year on, what more appropriate picture could there be, to consider, and to delight in, as we finally emerge from the long dark months of lockdown, than this idyllic morning scene, bathed in warm and nurturing sunlight? Claude Lorrain, born Claude Gellée in 1604 or 1605, was a French painter, draughtsman and etcher, who spent most of his working life in Italy. He was productive, with about 250 oil paintings, 1300 drawings and 44 etchings known today, large numbers when one factors in his reputedly painstaking and meticulous technique. Although one of the earliest major artists to concentrate on landscape painting, he turned many of his compositions into the more prestigious genre of ‘history painting’ by the addition of a few small biblical or mythological figures.
  • Ivan Gaskell

    Ivan Gaskell

    CURRICULUM VITAE IVAN GASKELL BARD GRADUATE CENTER Address Bard Graduate Center 38 West 86th Street New York NY 10024 USA T: 212-501-2050 E: [email protected] Degrees B.A. Oxford University (History) M.A. Oxford University (History) M.A. London University (History of Art) M.A. Cambridge University (by incorporation) Ph.D. Cambridge University (History of Art) Current positions Professor of Cultural History, and of Museum Studies, and Curator and Head of the Focus Project, Bard Graduate Center: Decorative Arts, Design History, Material Culture, New York City, 2012- Associate of the Peabody Museum of Archaeology and Ethnology, Harvard University, 2011- Associate of Kirkland House, Harvard University, 1991- Previous positions Margaret S. Winthrop Curator, Harvard Art Museums/Fogg Art Museum, 1991-2011 Senior Curator of the General Artemas Ward House Museum (Central Administration, Harvard University), 2010-11 Senior Lecturer, Harvard University (on Fine Art, subsequently History of Art and Architecture, 1991-2002; on History, 2002-11) [A Senior Lectureship is a secondary appointment with full faculty voting rights in the Harvard University Faculty of Arts and Sciences for persons with a principal appointment in another unit of the university.] Consultant, Thyssen-Bornemisza Foundation, 1987-91 Speelman Fellow and Resident Senior Member of Wolfson College, and member of the Faculty of Architecture and History of Art, Cambridge University, 1983-91 Research Fellow and Academic [Faculty] Curatorial Assistant, The Warburg Institute, London
  • Stylistic Change & L'idea Della Bellezza in Early Modern

    Stylistic Change & L'idea Della Bellezza in Early Modern

    ABSTRACT Title of Dissertation: MODALITIES OF THE IDEA: STYLISTIC CHANGE & L’IDEA DELLA BELLEZZA IN EARLY MODERN ITALY James Lee Hutson, Jr., Doctor of Philosophy, 2008 Dissertation Directed by: Professor Anthony Colantuono Department of Art History and Archeology In the careers of many prominent seventeenth-century painters such as Annibale Carracci, Guercino, Domenichino and even Caravaggio there is a familiar stylistic progression: each began their careers with a chiaroscuro manner rooted in Venetian and Emilian naturalism and then later shift to a markedly classicizing manner characterized by a brightening or lightening of the palette, a tendency to idealize the human form, and an insistence on composing in a series of parallel planes. The art-theoretical concept known as L’Idea della bellezza was the touchstone in cases where this stylistic phenomenon manifested itself. Developed and modified in antiquity to maintain its relevance to art theory, the Platonic Idea went through many variations and interpretative models until it was reintroduced to art theory in the Renaissance. At the same time, expectations of artists increased as the arti di disegno sought to be included among the liberal arts. Artists’ primary and secondary phases of education ensured a reading knowledge of Latin and equipped them with the ability to engage with the theoretical material of their day. This intellectual interest was reinforced by the foundations of the Florentine Accademia del Disegno, and later the Bolognese Accademia degl’Incamminati. As the number of publications by artists seemingly dwindled in the period following Mannerism, it was assumed that artists were increasingly disinterested with the complex theoretical discourse taken up by a growing number of critics and theorists.
  • From Object to Concept

    From Object to Concept

    From Object to Concept Global Consumption and the Transformation of Ming Porcelain Stacey Pierson This publication has been generously supported by the Sir Y. K. Pao Publication Fund for publications in Chinese art and architecture. Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © Hong Kong University Press 2013 ISBN 978-988-8139-83-5 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 1 Printed and bound by Paramount Printing Company Limited, Hong Kong, China Contents Acknowledgements vii Illustrations ix Abbreviations xiii Notes on Romanisation xv Introduction 1 1. Porcelain in Ming China (14th–17th centuries) 5 2. Ming Porcelain in the World (15th–17th centuries) 31 3. Porcelain as Metaphor—Inventing ‘the Ming Vase’ (18th–20th centuries) 57 4. Ming Porcelain in the Art World (19th–21st centuries) 81 Appendix 109 Notes 111 Bibliography 145 Index 165 Illustrations 1.1 Bowl with underglaze blue decoration, Ming dynasty, Chenghua mark and period (1465–87), often described as a ‘palace bowl’. PDF A650, British Museum. 1.2 Throwing a bowl at the porcelain factory. Watercolour and ink on paper, China, Guangzhou, 1810–20. Winterthur Museum, Gift of Leo A. and Doris C. Hodroff, 2004.47.14.4.
  • Civil Society & Scholars Call on China to Immediately Release Uyghur

    Civil Society & Scholars Call on China to Immediately Release Uyghur

    CIVIL SOCIETY & SCHOLARS CALL ON CHINA TO IMMEDIATELY RELEASE UYGHUR PROFESSOR ILHAM TOHTI FIVE YEARS AFTER ARREST On the five year anniversary of the arrest of Uyghur professor Ilham Tohti, civil society is calling for China to grant his immediate release and to heed calls for the release of an untold number of Uyghur scholars currently detained. Ilham Tohti, a Uyghur economist, writer and professor, founded the website “Uighurbiz.net” in 2006 to promote conciliation between Uyghurs and Han Chinese, but was arrested on January 15, 2014. Despite the UN Working Group on Arbitrary Detention finding his detention to be arbitrary in March 2014, Tohti was sentenced to life in prison in September of that year on charges of “separatism” after just a two-day trial. The legal process involving Tohti was met with significant issues throughout. His lawyers were unable to meet him for six months following the initial arrest, his defense team was not provided with complete evidence by the prosecutor, nor were their requested witnesses allowed to testify during the trial. Professor Ilham Tohti, for a number of years, criticised oppressive policies against Uyghurs and wrote extensively on constructive approaches to overcome unequal treatment between ethnic groups. Notably, he called for dialogue and reconciliation, using his web platform as the primary vehicle. Ilham has been serving his life sentence since December 2014 at Urumqi’s No. 1 Prison. Since then, he has been allowed visits by close family every three months and limited to one hour. Complicating this has been his continued detention in Urumqi, despite his family living in Beijing – a likely punitive move from Beijing.