DOCSLIB.ORG

中国山东省代表性博物馆iconic Museums of Shandong

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
中国山东省代表性博物馆iconic Museums of Shandong 中国山东省代表性博物馆 Iconic Museums of Shandong 博物馆是承载人类历史记忆和文化积淀的地方，是了解一个地方古今脉络、 人文历史以及传承演变的不二之选。截至 2019 年 9 月，山东省博物馆总数达 558 家，数量位居中国第一，有 90%的博物馆实现了免费开放。 A museum is a vehicle for human history and culture, the best place to learn about how a certain location has changed over time. By September 2019, the number of museums in Shandong reached 558, the highest of all China’s regions, and 90% of them charge no admission fee. 来山东参观当地的博物馆，你能看到历史最悠久、保存最完好、艺术水平最 高的壁画——东平汉墓壁画；表面乌黑光亮，器壁薄如蛋壳的黑陶杯；被誉为“世 界龙王”的世界上最大的鸭嘴恐龙骨架——“巨大诸城龙”；目前仅存的明代以 前的殿试状元卷真迹；只有火柴盒大小的精美微型风筝等世界级文化宝藏。 At the museums in Shandong, you can see such world-class treasures as the Han- Dynasty tomb murals of Dongping, which are the world’s oldest and best-preserved murals of the highest artistic quality; the Black Longshan Cup, a Neolithic piece of pottery with a shining surface and walls as thin as an eggshell; “Huge Zhucheng Dinosaur”, the world’s largest hadrosaur skeleton discovered in Zhucheng; the only existing test paper for the top scholar of the palace examination of the pre-Ming period (before 1644); and an exquisitely crafted kite that is no larger than a matchbox. 一、 山东博物馆 Ⅰ. Shandong Museum 山东博物馆拥有各类藏品 20 余万件，常设山东历史文化展、万世师表展等， 展示了山东历史文化的深远变迁。山东博物馆不仅记录了山东省几千年的历史， 也展现了中国文化千年传承的精髓。特色藏品包括陶瓷、古铜器皿、甲骨字样、 陶器铭文、皇家印章、竹简文字、汉代石刻、绘画和书法等。 The Shandong Museum contains over 200,000 pieces of all types. Permanent exhibitions include the Exhibition of Cultural History of Shandong and Virtuous Figures of the Ages, showing the changes that have taken place throughout Shandong’s thousands of years of history as well as the essence of the millennia of Chinese culture. Collections in the museum are particular featured by ceramics, bronzy ware, oracle- bone inscriptions, inscriptions on pottery, royal seals, bamboo scripts, stone relief in Han dynasty, paintings and calligraphies and the like. 镇馆之宝 Museum Treasures · 红陶兽形壶（大汶口文化） · Red-Pottery Zoomorphic Kettle (Dawenkou Culture) （图片来自山东博物馆官网） 1959 年山东泰安大汶口遗址出土了红陶兽形壶，是一种仿生陶器，在新石 器时代发现的陶器中较为罕见。虽然是实用器皿，却造型生动，不失艺术情趣。 红陶兽形壶是 5000 年前不可多得的一件艺术珍品，成为山东大汶口文化的独特 代表。 The Red-Pottery Zoomorphic Kettle was unearthed from Dawenkou Site in Tai’an City of Shandong Province in 1995. It is a red-pottery zoomorphic ware of bionic pottery, which is very rare in pottery discovered in the Neolithic Age. Although it is a practical ware, the modeling is vivid and artistic. The Red-Pottery Zoomorphic Kettle is an art treasure hard to come by 5,000 years ago, and also is the unique representative of Shandong Dawenkou culture. · 东平汉墓壁画（汉代） · Mural of Han Tombs in Dongping (Han Dynasty) 东平汉墓壁画发现于 2007 年，是山东地区迄今发现的历史最悠久，保存最 完好，艺术水平最高的壁画，也是中国早期绘画作品中的精美杰作，在全国极为 罕见。 Discovered in 2007, the Mural of Han Tombs in Dongping is the oldest and best preserved mural with the highest artistic level, is also an elaborate masterpiece in painting work in early China, and is extremely rare nationwide. · 蛋壳黑陶高柄套杯（龙山文化） · Eggshell Black-Pottery Cup (Longshan Culture) （图片来自山东博物馆官网） 蛋壳黑陶杯出土于 1960 年，整个器皿由两部分套合，采用快轮制作。陶杯 表面乌黑光亮，器壁薄如蛋壳。它代表了新石器时代制陶工艺的最高水平，这在 世界范围内也是独树一帜的。 The Eggshell Black-Pottery Cup was unearthed in 1960, is combined by two parts as a whole, and is manufactured by a rotation method. Unique worldwide, the black and bright Eggshell Black-Pottery Cup is as thin as en eggshell, representing the highest level of the pottery manufacturing technology in ancient China. · 祖辛方鼎（商代） · Square Ding-Tripot with Ju-clan Emblem (Shang Dynasty) （图片来自山东博物馆官网） 该鼎于 1957 年出土于山东省济南市长清区小屯遗址。方鼎四隅饰有扉棱， 腹部饰兽面纹，足饰阴浅蝉纹，腹内壁铸有铭文“举祖辛禹”。 This cauldron was unearthed at the Xiaotun site in Changqing District of Jinan City in 1957. It has protruding decorative bands at each corner, animal faces on the belly, and cicadas in shallow counter-relief on the legs. Inside the belly are four inscribed characters that read, “ju zu xin yu.” 二、孔子博物馆 Ⅱ.Confucius Museum 孔子博物馆位于曲阜城中轴线南端，北距孔庙 4 公里，与“三孔”世界文化 遗产遥相呼应。该馆占地面积 16.8 万平方米，总建筑面积 5.5 万平方米，主馆 以仿汉代建筑为基调。孔子博物馆的藏品主要来源于孔府旧藏，承载着孔子故里 悠久的历史，博物馆拥有各类馆藏文物 70 万件，闻名于世的藏品包括明代以来 直至 1948 年的 30 万件孔府私家文书档案、宋代以来 4 万多册古籍图书、8000 多件明清衣冠服饰以及大量的与祭祀孔子有关的礼乐器等。 The Confucius Museum in Shandong lies on the southern section of the central axis of Qufu, four kilometers to the south of the Temple of Confucius. It serves to complement the Temple and Cemetery of Confucius and the Kong Family Mansion in Qufu, all three of which are UNESCO World Heritage Sites. The museum grounds cover 168,000 square meters, and the building itself has a floor area of 55,000 square meters. The main building is done in the architectural style of the Han Dynasty (206 BCE – 220 CE). Most of the pieces in the museum, over 700,000 objects representing the history of Confucius’ hometown, come from the old collection of the Kong Family Mansion. The world-famous objects include 300,000 private Kong family documents from the Ming Dynasty (1368 – 1644) to 1948, over 40,000 books from the Song Dynasty (960 – 1279) to the present, over 8,000 pieces of attire from the Ming and Qing (1644 – 1911) dynasties, and numerous musical instruments used in worshiping Confucius. 镇馆之宝 Museum Treasures · 明兽面纹掐丝法琅五供 · Five Cloisonné Sacrificial Utensils with Animal-Mask Motif (Ming Dynasty) 孔府祭器，包括香炉，尊，烛台 香炉：口径 22*17 厘米，通高 44.8 厘米 紫铜胎镀金。平口，出沿，直腹，平底，立耳，狮形钮，兽首吞足式足，长 方形束腰座，腹及四角铸扉棱。通体以浅蓝釉为地，盖壁镂空宝相花纹，腹饰变 形兽面纹，座面饰“五福捧寿”、万字纹。 This set of sacrificial utensils from the Kong Family Mansion includes a censer, two vases and two candlesticks. Censer: mouth: 22x17 cm; height: 44.8 cm Made of gold-plated copper, the piece has a flat flared mouth, straight belly, flat foot, upright handles, lion-shaped knob, legs with animal heads, rectangular base that is contracted around the middle, and protruding decorative bands at each corner of the belly. The entire piece has a light-blue glaze as the base color. The walls of the lid have openwork with rosettes. The belly has a stylized animal-mask motif. The base has an image of five bats surrounding the character for “longevity,” and a swastika pattern. 尊：口径 18*18 厘米，通高 42.1 厘米 紫铜胎镀金。方形喇叭口，腹微鼓，方足外撇，方形束腰座，四角铸扉棱。 通体浅蓝釉为地，饰兽面、宝相花纹，座面饰几何、花瓣纹。 Vases: mouth: 18x18 cm; height: 42.1 cm Made of gold-plated copper, each of these identical pieces has a square flared mouth, slightly rounded belly, and square flared foot. It has a square base that is contracted around the middle and has protruding decorative bands at each corner. The entire piece has a light-blue glaze as the base color and is decorated with a animal-mask motif and rosettes. The base has geometric and flower-petal patterning. 烛台：通高 55.5 厘米 紫铜胎镀金。双盘连座式，方形束腰座，四角铸扉棱。通体浅蓝釉为地，饰 宝相花、朵云、变形兽面纹；座面饰几何、花瓣纹。 Candlesticks: height: 55.5 cm Made of gold-plated copper, each of these identical pieces has two bobeches connected in series. The base is contracted around the middle and has protruding decorative bands at each corner. The entire piece has a light-blue glaze as the base color and is decorated with rosettes, clouds, and a stylized animal-mask motif. The base has geometric and flower-petal patterning. · 黄玉马（战国） · Yellow Jade Horse (Warring States period: 475 – 221 BCE) 该玉器长 5.8 厘米，宽 1.7 厘米，通高 5.7 厘米，出土于曲阜鲁国故城遗址 3 号墓。玉马雕磨细致，线条简洁，神形兼备，栩栩如生，堪称中国古代玉雕工 艺的珍品。 About 5.8 cm long, 1.7 cm wide, and 5.7 cm tall, this piece was found in Grave No. 3 at the Lu State Capital site in Qufu. Having been carefully and neatly carved and polished, it is lifelike in both form and spirit, and is hailed as a treasure of ancient Chinese jade craftsmanship. · 竹雕百寿图摆件（明） · Bamboo Carving with Longevity Imagery (Ming Dynasty) （图片来自孔子博物馆） 这个摆件为立体圆雕。运用高浮雕、镂雕技法雕刻出一个绿树成荫、奇松怪 石的仙山奇境。里面有亭台楼阁和百位老翁。整器上雕刻人物有 107 人，栩栩如 生，显示出雕刻者的巧妙构思和精湛技艺。 This cylindrical freestanding piece with high-relief sculpture and openwork portrays imagery of a habitation of deities with uniquely shaped pine trees and stones. The artist’s mastery in terms of layout and craftsmanship is seen in the pavilions and the 107 realistically carved old men. · 孔子观欹器图轴（明） · Confucius Observes a Qiqi (Ming Dynasty) 该图轴长 99.5 厘米，宽 59 厘米。描绘的是孔子带领弟子参观鲁桓公庙的情 景。 About 99.5 cm long and 59 cm wide, this painting shows Confucius leading his pupils in observing objects at the temple of Duke Huan of Lu. 三、山东省石刻艺术博物馆 III. Shandong Provincial Stone Sculpture Museum 山东省石刻艺术博物馆现有馆藏石质文物 96 件、拓片 8000 余幅，包括了山 东地区秦汉至五代的碑刻、墓志、画像石、北朝佛教摩崖刻石、云峰刻石等。 The museum has 96 stone articles and over 8,000 rubbings in its collection, including stele engravings, inscribed grave steles, stone pictures, Northern Dynasties Buddhist cliff carvings, stone inscriptions at Mt. Yunfeng and other artifacts found in Shandong. They span a period from the Qin Dynasty (221 – 206 BCE) to the Five Dynasties (907 – 979 CE). 镇馆之宝 Museum Treasures · 北朝摩崖拓片 · Rubbings of Northern Dynasties Buddhist Cliffside Inscriptions 山东是中国现存汉代碑刻数量最多的省份，既有庙堂级艺术珍品“张迁”“礼 器”“乙瑛”等汉碑，又有具有浓厚篆意的“五凤”“莱子侯”等民间书法刻石， 素有“天下汉碑半山东”之说。 Shandong is China’s province with the greatest number of existing Han-Dynasty stone steles with inscriptions, including highly artistic specimens (such as the Zhang Qian Stele, Stele on Ritual Objects, and Yi Ying Stele) as well as pieces with writing in the seal script from among the common people (such as the Wufeng Stele and the Laizihou Stele), hence being praised as “home to half of China’s inscribed Han-Dynasty steles.” · 铁山石颂 · Stone Inscriptions on Mt. Tie 山东长清孝堂山郭氏墓石祠、嘉祥武氏墓群石刻、沂南北寨村画像石墓和安 丘董家庄画像石墓等，均为全国重点文物保护单位。以泰山经石峪为代表的北朝 佛教摩崖石刻被誉为“大字鼻祖”“榜书之宗”。 The Ancestral Hall in the Guo Family Cemetery at Mt. Xiaotang in Changqing District, the Wu Family Shrines in Jiaxiang County, and tombs with pictorial stones in Beizhai Village in Yinan County and in Dongjiazhuang Village in Anqiu County have been listed as Major Historical and Cultural Sites Protected at the National Level. In addition, the Buddhist cliffside inscriptions from the Northern Dynasties period, of which the Sutra Rock Valley inscriptions on Mt.
Load more

Recommended publications
  • PB the Walls of Utopia
    Gao Brothers, The Utopia of Construction n°5 (2014), c-print, 150x150cm Between the Walls of Utopia Gao Brothers ● solotentoonstelling Vernissage vrijdag 11 september 2015, 17u - 21u Expositie van 12 september tot en met 29 november 2015 open van donderdag tot zondag, 10u - 19u rue des renards/vossenstraat 28 • 1000 brussels • belgium 中国上海市万航渡路 733 号 / 733 wanhangdu road • shanghai 200040 • china +32 2 502 40 58 • [email protected] ifa-gallery.com Between the Walls of Utopia "Between the Walls of Utopia" is de eerste solotentoonstelling in Brussel van het gerenommeerde kunstenaarsduo de Gao Brothers (Gao Zhen & Gao Qiang). Ze worden internationaal geprezen. Vertrekkende vanuit het Chinese voobeeld plaatsen ze al meer dan twee decennia vraagtekens bij de positie van de mens in de hedendaagse samenleving om zo tot een universeel standpunt te komen. Hun eerste belangrijke installatie in een reeks van gewaagde werken was te zien op “China/Avant-Garde” (National Gallery of Beijing) in 1989. Deze tentoonstelling was van grote betekenis voor de Chinese hedendaagse kunst. Hun sociale en artistieke betrokkenheid tijdens de demonstraties op het Tiananmen-plein kostte hen hun paspoort gedurende meerdere jaren. De Gao Brothers hebben inderdaad een aandeel in de kritische getuigenissen op de Chinese samenleving. Dit uiten ze in hun kunst via verscheidene media zoals fotografie, video, schilder- en beeldhouwkunst, theater, performances, kritische essays en zelfs via hun rol als curatoren en het organiseren van tentoonstellingen met andere artiesten. De Culturele Revolutie (1966-1976) had tragische gevolgen voor hun familie. Ze streven dan ook naar een grotere vrijheid van meningsuiting. Dit is het zichtbaarst in hun reeks politieke schilderijen en sculpturen, zoals de groteske Miss Mao of de Executie van Christus door een Mao Zedong regiment.
    [Show full text]
  • Relocated Shandong Museum Proves a Success
    10 Shandong special August 22-23, 2015 CHINA DAILY A mural unearthed from a Han Dynasty tomb in the Dongping area, in which the A Bodhisattva statue wearing a coronal decorated with a cicada that An ink painting by Zheng Xie (1693-1765), now on display in Shandong details and colours can still be seen. was built in the Eastern Wei Dynasty is regarded as an embodiment of the Museum. localization of the Buddhist culture. Relocated Shandong museum proves a success Huge number of cultural collections and exhibits draws 1 million visitors from home and abroad each year, Zhang Zhao reports. ince its opening in 2010, the relocated Shan- depicting life at that time, including funeral customs dong Museum has welcomed more than 1 mil- and religious beliefs. The art combines painting and lion visitors from home and abroad each year. sculpture skills. S With prominent exhibits, advanced equip- The pictorial stones in Shandong Museum are 4 ment and first-class service, the museum has become collected from across the province and the exhibits a major platform for cultural exchanges in Shandong are known for both the quantity and high quality of The red-color zoomorphic pot, a typical representation of province. its relics. In a mural unearthed from a Han Dynasty Dawenkou pottery. Founded in 1954, the museum is the first provincial tomb in the Dongping area, details and colors can comprehensive museum in the People’s Republic of still be seen today. China. It was based on the Guangzhi Yuan, which Buddhist art, including statues and scrolls, make was built in Jinan city in 1904 by British Baptist mis- up another exhibition highlight in the museum.
    [Show full text]
  • Three Kingdoms Unveiling the Story: List of Works
    Celebrating the 40th Anniversary of the Japan-China Cultural Exchange Agreement List of Works Organizers: Tokyo National Museum, Art Exhibitions China, NHK, NHK Promotions Inc., The Asahi Shimbun With the Support of: the Ministry of Foreign Affairs of Japan, NATIONAL CULTURAL HERITAGE ADMINISTRATION, July 9 – September 16, 2019 Embassy of the People’s Republic of China in Japan With the Sponsorship of: Heiseikan, Tokyo National Museum Dai Nippon Printing Co., Ltd., Notes Mitsui Sumitomo Insurance Co.,Ltd., MITSUI & CO., LTD. ・Exhibition numbers correspond to the catalogue entry numbers. However, the order of the artworks in the exhibition may not necessarily be the same. With the cooperation of: ・Designation is indicated by a symbol ☆ for Chinese First Grade Cultural Relic. IIDA CITY KAWAMOTO KIHACHIRO PUPPET MUSEUM, ・Works are on view throughout the exhibition period. KOEI TECMO GAMES CO., LTD., ・ Exhibition lineup may change as circumstances require. Missing numbers refer to works that have been pulled from the JAPAN AIRLINES, exhibition. HIKARI Production LTD. No. Designation Title Excavation year / Location or Artist, etc. Period and date of production Ownership Prologue: Legends of the Three Kingdoms Period 1 Guan Yu Ming dynasty, 15th–16th century Xinxiang Museum Zhuge Liang Emerges From the 2 Ming dynasty, 15th century Shanghai Museum Mountains to Serve 3 Narrative Figure Painting By Qiu Ying Ming dynasty, 16th century Shanghai Museum 4 Former Ode on the Red Cliffs By Zhang Ruitu Ming dynasty, dated 1626 Tianjin Museum Illustrated
    [Show full text]
  • ABSTRACT Title of Document: the ANTI-CONFUCIAN CAMPAIGN
    ABSTRACT Title of Document: THE ANTI-CONFUCIAN CAMPAIGN DURING THE CULTURAL REVOLUTION, AUGUST 1966-JANUARY 1967 Zehao Zhou, Doctor of Philosophy, 2011 Directed By: Professor James Gao, Department of History This dissertation examines the attacks on the Three Kong Sites (Confucius Temple, Confucius Mansion, Confucius Cemetery) in Confucius’s birthplace Qufu, Shandong Province at the start of the Cultural Revolution. During the height of the campaign against the Four Olds in August 1966, Qufu’s local Red Guards attempted to raid the Three Kong Sites but failed. In November 1966, Beijing Red Guards came to Qufu and succeeded in attacking the Three Kong Sites and leveling Confucius’s tomb. In January 1967, Qufu peasants thoroughly plundered the Confucius Cemetery for buried treasures. This case study takes into consideration all related participants and circumstances and explores the complicated events that interwove dictatorship with anarchy, physical violence with ideological abuse, party conspiracy with mass mobilization, cultural destruction with revolutionary indo ctrination, ideological vandalism with acquisitive vandalism, and state violence with popular violence. This study argues that the violence against the Three Kong Sites was not a typical episode of the campaign against the Four Olds with outside Red Guards as the principal actors but a complex process involving multiple players, intraparty strife, Red Guard factionalism, bureaucratic plight, peasant opportunism, social ecology, and ever- evolving state-society relations. This study also maintains that Qufu locals’ initial protection of the Three Kong Sites and resistance to the Red Guards were driven more by their bureaucratic obligations and self-interest rather than by their pride in their cultural heritage.
    [Show full text]
  • Learning in Museums
    ICOM-ITC 2014 Autumn Training Workshop Learning in Museums Oct. 27-Nov. 4, 2014 Beijing, China Table of Content Welcome Address......................................................................................1 Introduction to the Training Workshop.....................................................2 Profile of Lecturers....................................................................................3 Workshop Agenda.........................................................................12 Museum Visit......................................................................................15 Chinese Participants................................................................................27 International Participants........................................................................29 ICOM-ITC Staff......................................................................................31 Useful Information..................................................................................32 Contact Information................................................................................37 Welcome Address Dear lecturers, dear participants, First of all, we would like to welcome you on behalf of ICOM China and the Palace Museum. The proposal of establishing an ICOM International Training Centre for Museum Studies (ICOM-ITC) was put forward in the 22nd General Conference of ICOM in Shanghai in 2010. After three years of planning, ICOM-ITC was founded on July 1, 2013 in the Palace Museum. Up to now, ICOM-ITC has held two training
    [Show full text]
  • Managing Historical Capital in Shandong: Museum, Monument and Memory in Provincial China James Flath the University of Western Ontario
    Western University Scholarship@Western History Publications History Department Spring 2002 Managing Historical Capital in Shandong: Museum, Monument and Memory in Provincial China James Flath The University of Western Ontario Follow this and additional works at: https://ir.lib.uwo.ca/historypub Part of the History Commons Citation of this paper: Flath, James, "Managing Historical Capital in Shandong: Museum, Monument and Memory in Provincial China" (2002). History Publications. 363. https://ir.lib.uwo.ca/historypub/363 Managing Historical Capital in Shandong: Museum, Monument, and Memory in Provincial China JAMES A. FLATH Introduction For most people, the written texts of history are only pale reflections of the history they see in their everyday surroundings. An ancient building, a local museum, a statue in a park, or even a notable landscape can carry historical narratives in ways that are more immediate and lasting than any well-re- searched discourse on history. Yet these publicly accessible historical represen- tations are also highly selective in the subjects they portray. Visitors often leave with little more than an impression of the event, person, or place represented by the site, and perhaps a souvenir or T-shirt as evidence of their historical experience. So although the historical site is a poor representation of the actual past, the immediacy and stature of historical monuments and museums imbue them with a strong capacity to configure history in the present. This discussion considers how the past informs the present through the preserved and monumentally represented remains of provincial Chinese history. China, as we are frequently reminded, has the world’s longest continu- ous history and probably the greatest number of historical sites.
    [Show full text]
  • (May 26Th — June 17Th, 2019 in China) the Trip Will Present Different Lectures, Demonstrations and Workshops from Instructors and Master Artists in China
    Summer Art in China is a unique study abroad DATES ABROAD program that was founded on the understanding and May 18th — June 22nd, 2019 appreciation of Chinese art, which over the course of (May 26th — June 17th, 2019 in China) the trip will present different lectures, demonstrations and workshops from instructors and master artists in China. The program will enable American students PROGRAM DIRECTOR to view Asian culture from a new perspective and Professor Zhiyuan Cong to absorb elements in a different cultural tradition from their own artistic articulation and elaboration. ATTENDING FACULT Y Professor Zhiyuan Cong A secondary purpose is to encourage and prompt Professor Julie Ann Nagle more frequent art exchanges between the East and West, as well as demonstrate the connection between This study abroad program offers over five weeks of ancient and modern traditions in the field of Chinese intensive classes with faculty from William Paterson Art. There will also be special activities including University of New Jersey, the Shanghai Art Museum visits to the studios of working Chinese artists, and of China in Shanghai, Tengzhou Museum of Han to museums and institutes of traditional and modern Carved Stone, Confucius Museum, Mencius Museum, art and architecture in Shanghai, Xuzhou, Teng Zhou, Dunhuang Grottoes, and Tsinghua University. Qufu, Mount Tai, Xining, Qinghai Lake, Jiayuguan, Dunhuang, Beijing of China. Summer Art in China 2019 01 About the Faculty PROFESSOR ZHIYUAN CONG has taught at William Paterson University as a professor of art since 1994. He was a professor at Nanjing Arts Institute from 1980 to 1988. He has had more than one hundred solo and group exhibitions in national and international exhibition spaces such as at the National Museum of China, the United Nations Headquarters in New York, and the Butler Museum of American Art, etc.
    [Show full text]
  • Chinese Museums Exhibition Exchange Platform
    CHINESE MUSEUMS EXHIBITION EXCHANGE PLATFORM WWW.CHINAMUSEUM.COM,YOUR GATEWAYTO CHINESE MUSEUMS WWW.CHINAMUSEUM.COM,THE OFFICIAL PLATFORM FOR EXHIBITION EXCHANGES IN CHINA WWW.CHINAMUSEUM.COM is the official platform for exhibition exchanges in China, with resources on exhibitions hosted in Chinese museums. It is a free service provided by Chinese Museums Association for its members. The platform is run and supported by Tianyu Cultural Group, through HudongWenbo Keji, its branch. OUR NETWORK Chinese museums enjoy huge archaeological resources and an important number of visitors. Thanks to a favourable cultural policy toward museums, China and different actors of the Chinese society will further invest in the museum industry. The future of exhibition exchanges in China looks more than promising. • We serve the members of Chinese Museums Association and some 4,692 museums all over China; • Every year, more than 20,000 exhibitions are hosted in Chinese museums; • These exhibitions receive more than 720,000,000 visitors. WHAT TO EXPECT ON WWW.CHINAMUSEUM.COM Information about exhibitions Information about Chinese museums • A user platform where you can publish • Latest news about Chinese museums and information about your exhibition to cultural policy tour in China • Interviews of Chinese museum directors • A searchable database to look for the and other experts next Chinese exhibition in your museum Thanks to WWW.CHINAMUSEUM.COM, you will develop your network in China and find your next partner museum. HOW IT WORKS • We can publish your exhibition information in Chinese on WWW.CHINAMUSEUM.COM, free of charge; • We can represent your museum in China to promote and sell your exhibition all over China; • We can work together for exhibition exchanges in and outside of China.
    [Show full text]
  • Chapter 2. I Thank Columbia University Press for Granting Permission to Quote Yang 1945:90, a Chinese Village
    Notes Chapter 2. I thank Columbia University Press for granting permission to quote Yang 1945:90, A Chinese Village. Taitou, Shandong Province. Chapter 4. GrovelAtlantic, Inc. kindly granted permission to quote Arthur Waley, The Book o/Songs (copyright line 1937), Seventh Printing, 1978, page 161. Waley uses his own system of ordering the poems, listing them by topic; poem #279 also is referred to here as entry #156 (see Waley 1987:351). Chapter 4. David Keightley generously granted permission to cite two helpful unpublished papers (Keightley 1975, 1985). Chapter 4. I am grateful to Elizabeth Childs-johnson for permission to cite her useful, unpublished dissertation (Childs-Johnson 1988). Chapter 5. The analysis for Dadunzi uses primarily Nanjing Museum 0964, 1%5). Burials reported in Nanjing Museum (981) from Dadunzi date to both the Early and Middle Regional Phases. Figures 5.8 and 5.28 do not include burials from Liulin or Dadunzi. Chapters 5, 6, and 7. Jim Railey generously allowed me to cite results from his important dissertation on ceramic change in the Yuanqu basin of southern Shanxi (Railey 1999). Chapter 7. I thank my sister, Emily Luchetti, a professional pastry chef, for leading me to Barbara Haber and Deborah Kelley-Milburn, Schlesinger Library, Radcliffe College, who informed me about the web page men­ tioning bronze cooking vessels at Hampton Court Palace. The web site address is: www.castingsfshusiness.co.uklwarning.htm Chapter 7. I am very grateful to Dr. Fang Hui for helping me translate the section of the Zuo Zhuan (Yang 1981). Chapter 7. I thank Dr.
    [Show full text]
  • Liu Bolin Born 1973 in Shandong, China
    Liu Bolin Born 1973 in Shandong, China. Lives and works in Beijing. EDUCATION 2001 M.F.A., Central Academy of Fine Arts, Beijing 1995 B.A., Shandong University of Arts, Jinan, China SOLO EXHIBITIONS 2019 Liu Bolin: Continuous Refle(a)ction, Riverside Art Museum, Beijing New Change, Over the Influence, Hong Kong La forma profonda del reale di Liu Bolin, Bocconi Art Gallery, Milan Liu Bolin/Camouflage - Ballarat International Foto Biennale, Art Gallery of Ballarat, Victoria, Australia Liu Bolin: Visible/Invisible, Museo delle Culture, Milan Liu Bolin, Musée de l'Elysée, Lausanne, Switzerland Liu Bolin: The Invisible Man, The Gaviria Palace, Madrid, Spain The Bigger Picture - Liu Bolin, Kunstlinie Almere Flevoland, Almere, The Netherlands 2018 Liu Bolin: The Invisible Man, Erarta Museum, Saint Petersburg, Russia Liu Bolin: The Imperceptible, il Faut Le Faire, Goussainville, France Kyotographie, Kyoto, Japan Liu Bolin: The Invisible Man, Complesso Del Vittoriano, Rome, Italy Liu Bolin: L'homme caméléon, Le DIDAM, Bayonne, France 2017 Liu Bolin: Ghost Stories, Maison Européenne de la Photographie, Paris Galerie Party, Centre Pompidou - Acte II with Liu Bolin, Centre Pompidou, Galerie des enfants, Paris Liu Bolin: Migrants, Museo d’Arte Contemporanea Ramacca, Catania, Italy Liu Bolin: Hacker Art, Danysz Gallery, Shanghai 2016 Liu Bolin: Art Hacker, Klein Sun Gallery, New York Liu Bolin Solo Exhibition, Hadrien De Montferrand Gallery, Hangzhou, China 398 West Street, New York, NY 10014 | T: +1.212.255.4388 | [email protected] | www.galleryek.com 2015 Liu Bolin: CAMALEÓN, Centro Roberto Garza Sada, Universidad de Monterrey, Monterrey, Mexico Liu Bolin: Desapareciendo, Museo de Contemporáneo de Buenos Aires, Buenos Aires, Argentina Liu Bolin: Hiding in the City, Boise Art Museum, Boise, Idaho Liu Bolin: Hiding in Plain Sight, Dennos Museum Center, Traverse City, Michigan Liu Bolin: Hiding in the City, Concordia Cyrus M.
    [Show full text]
  • The Transmission of Buddhist
    THE TRANSMISSION OF BUDDHIST ICONOGRAPHY AND ARTISTIC STYLES AROUND THE YELLOW SEA CIRCUIT IN THE SIXTH CENTURY: PENSIVE BODHISATTVA IMAGES FROM HEBEI, SHANDONG, AND KOREA Li-kuei Chien When Buddhism reached the Korean peninsula and took root there between Acknowledgements the fourth and sixth centuries, both China and the Korean peninsula were in a I am grateful to Mr Gong Dejie 宮德杰 and state of division. Regional powers competed against each other and waged wars Ms Yi Tongjuan 衣同娟, the former and pre- sent Directors of Linqu County Museum, who for dominance on both sides of the Yellow Sea, making the political and cultural welcomed research on the museum’s collec- history of this period exceptionally complex. Korean rulers sought alliances tion and granted me permission to study and with the powerful states to their west, and the transmission of Buddhist cul- photograph the sculptures discussed in this ture was accelerated along with these diplomatic exchanges.1 Despite the rapid paper. I acknowledge Kim Minku 金玟球 for his discussion on secondary scholarship and development of Buddhism on the Korean peninsula, the history of interaction for informing me of the latest archaeological between Korea and China remains a challenging topic because relevant textual discoveries in Korea. I thank Lee Yu-min 李 documents from this period are scarce.2 玉珉 for her advice on the title of this paper. The work in this paper was substantially sup- Modern archaeological and art history research compensates for the lack of ported by a grant from the Research Grants written records in this field.3 Our understanding of the development of sixth- Council of the Hong Kong Special Administra- century Korean Buddhism and Buddhist art and their relationship with the tive Region, China (Project No.
    [Show full text]
  • LIU BOLIN Revealing Disappearance
    GALERIE PARIS-BEIJING LIU BOLIN Revealing Disappearance Vernissage le jeudi 7 septembre 2017, de 18h00 à 21h00 Exposition du 7 septembre au 28 octobre 2017 PREVIEW PRESSE le lundi 4 Septembre à 14h MyeonBeom Kim, Untitled, 2016, Mixed media, Dimensions variable Liu Bolin, Hiding in the city - Municipal Waste, 2014 Archival pigment print, 120 x 150 cm L'exposition Revealing Disappearance dévoilera les toutes dernières réalisations de l’artiste chinois Liu Bolin, profondément engagé sur les questions environnementales. Très tôt dans sa carrière, l'écologie devient un sujet majeur de sa production artistique. En 2011, il brave les eaux polluées du fleuve Jaune, situé dans l'une des régions les plus industrialisées de son pays. En 2015, il organise une performance collective au bord d'une grande forêt artificielle destinée à empêcher la propagation du désert de Gobi dans les Territoires de la Chine septentrionale. En 2016, il pose parmi des montagnes d’ordures dans un centre de collecte à Bangalore, en Inde. En juin 2017, l'artiste s'est rendu sur la Côte Atlantique Française pour réaliser deux nouvelles performances en collaboration avec Surfrider Foundation Europe. Son objectif: contribuer à alerter l’opinion publique sur la problématique des déchets aquatiques. L'ONG Surfrider mène des campagnes de sensibilisation et multiplie les actions contre la pollution causée par les déchets plastiques et oeuvre ainsi en faveur de la protection de l’océan. Les photographies liées à sa plus récente intervention en France figureront dans l’exposition, à côté de ses précédentes performances réalisées en Chine et en Inde, où l'industrialisation fulgurante et la croissance vertigineuse de la population ont affecté les climats urbains, en particulier la qualité de l'air.
    [Show full text]