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“MANUSCRIPTA” DIARY E. Teryukova State Museum of the History of Religion, St. Petersburg, Russia; St. Petersburg State University, St. Petersburg, Russia E-mail: [email protected] P. Tugarinov State Museum of the History of Religion, St. Petersburg, Russia E-mail: [email protected] E. Zavidovskaya National Tsing Hua University, Hsinchu, Taiwan E-mail: [email protected] ON THE RESULTS OF THE INTERNATIONAL CONFERENCE “FOLK IMAGES AND LATE IMPERIAL CHINA” (ST. PETERSBURG, 29—30 JUNE 2017) Abstract. The article deals with the conference “Folk Images and Late Imperial China” which was organized by the State Mu- seum of the History of Religion and the Institute of Oriental Manuscripts of the Russian Academy of Sciences and by the Mazu Culture Research Centre, National Chung Cheng University (Chiayi, Taiwan) in St. Petersburg on June 29—30, 2017. The confer- ence engaged the leading researchers of Chinese folk art and religion from Taiwan and St. Petersburg and included 26 papers on Chinese folk images in Russian and international museum collections, the symbolism of Chinese folk images and semiological structure of myth, the evolution of Chinese folk images in the 20th century, the art of nianhua in contemporary China and Taiwan, the interaction of high and folk culture in Chinese art, Chinese religious syncretism and its portrayal in art. Key words: Chinese folk art, Chinese folk religion, Chinese folk images in Russia, museum collections, symbolism of Chi- nese folk images Acknowledgment. The publication was prepared under the grant from the Russian Foundation for Basic Research, Project No. 15-21-10001. The State Museum of the History of Religion and the St. Petersburg counts almost 300 years and dates back to Institute of Oriental Manuscripts of the Russian Acad- Peter the Great's decree to establish the Academy of Sci- emy of Sciences hosted the international conference ences. St. Petersburg has been enjoying the status of “Folk Images and Late Imperial China” on June 29—30, a leading centre for the research of the Chinese culture 2017, which became the first event of this kind within for three hundred years. The Asian Museum was founded the framework of Russian-Taiwanese collaboration in in 1818, later it was reorganized to become the Institute arts and humanities in the past several decades. The con- of Oriental Manuscripts of the Russian Academy of Sci- ference was organized by the State Museum of the His- ences. Its collection of manuscripts is the largest in Rus- tory of Religion, the Institute of Oriental Manuscripts of sia and one of the largest and most valuable in the world. the Russian Academy of Sciences (Russia) and the Mazu The faculty of Oriental Languages was founded in Culture Research Centre of the National Chung Cheng St. Petersburg University in 1854. The faculty grew to University (Chiayi, Taiwan). The conference was sup- become a recognized centre for the study of Oriental ported by the Cultural Division of the Representative languages, history, and culture. Another decree by Peter Office in Moscow for the Moscow-Taipei Coordination the Great issued in 1714 led to the foundation of Russia's Commission on Economic and Cultural Cooperation. first public museum, the Kunstkamera, where The city where the conference took place is of spe- St. Petersburg's first Chinese collections were housed. cial significance. The history of Chinese studies in Later large collections of Chinese artefacts were gath- © E. Teryukova, P. Tugarinov, E. Zavidovskaya, 2017. Manuscripta Orientalia, 23/1 (2017), pp. 67—70 68 Manuscripta Orientalia. VOL. 23 NO. 2 DECEMBER 2017 ered at the State Hermitage Museum and the State Mu- the History of Religion held an exhibition titled “Around seum of the History of Religion. Old China with Academician Alekseev”, published an Academician Vassily Mikhailovich Alekseev is album on Chinese prints from the collection of the State a central figure in the history of Chinese studies in Museum of the History of Religion [2], and developed St. Petersburg, he was both a collector and researcher of a multimedia program “Around Old China with Acade- Chinese folk art. During his travels to China in 1906— mician Alekseev” available on the museum's website and 1909, 1912 and 1926 V. M. Alekseev collected several as a part of the permanent display [3]. In 2015, a Rus- thousands of folk images, prints, temple epigraphy, as sian-Taiwanese research group was granted funding for well as secular and religious artefacts. Later his collec- further study of Alekseev's collection, combined work tion was divided between St. Petersburg's (Leningrad's at resulted in publication of a number of articles in Russian, the time) leading museums and research centres. Ap- Chinese and English by Russian and Taiwanese members proximately 1000 sheets from this collection are now of the research group. The work undertaken by Professor held at the State Museum of the History of Religion. Yang Yujin (National Chung Cheng University) at Unlike blockprinted folk images from St. Petersburg's museums, including the Museum of the V. M. Alekseev's collection that found their way to the History of Religion, resulted in a series of articles on the State Hermitage Museum, collection at the State Mu- images of Zhong Kui and Wealth God Caishen [4]. In seum of the History of Religion has been accessible to 2016 she published a catalogue of the touring exhibition researchers, but had not become the subject of dedicated of Chinese folk images from the collection of the State study. Until recently, the only publications on the Mu- Museum of the History of Religion, “Russian Collection (”㖵ᯟި㯿ᲊ␵ᵘᶯᒤ⮛״“) ”seum's collection of Chinese folk images were two of Late Qing Nianhua works by I. P. Garanin titled “Nineteenth-Century Chi- in Taiwan [5]. Russian members of the research group nese Anti-Christian Prints” and “Chinese auspicious have published more than ten articles in Russian and Prints from the Collection of V. M. Alekseev” [1]. English on the formation of Alekseev's collection at the Well-known Russian researchers of Chinese folk images State Museum of the History of Religion and its various B. L. Riftin and M. L. Rudova mentioned the collection aspects, such as artefacts and V. M. Alekseev's notes for of the State Museum of the History of Religion, but un- those prints, the collection has been introduced as a new fortunately never made it the focus of their attention. To relevant source for the study of Chinese religious syncre- draw the attention to the collection, the State Museum of tism [6]. *** The conference “Folk Images and Late Imperial P. A. Komarovskaya (St. Petersburg State University) China” held in St. Petersburg not only aimed to present presented the results of field research conducted in 2010 the results of this joint project, but also to engage the in Yangjiabu near the town of Weifang, one of the Chi- leading researchers of Chinese folk art and religion from nese nianhua manufacturing centres. She pointed out Taiwan and Russia. The conference included 26 papers that present day traditions of this centre are rooted in the on Chinese folk images held in Russian and international heritage of the Qing period. The traditional method of museum collections, on symbolism of Chinese folk im- printing from woodblocks is used to produce New Year ages and semiological structure of myth, evolution of images, while most of the plots typical for early twenti- Chinese folk images in the 20th century, the art of eth century remain unchanged and some of the new god nianhua in contemporary China and Taiwan, interaction images are added. Some of the contemporary Yagjiabu of high and folk culture in Chinese art, Chinese religious prints are the same as nianhua from the collection of the syncretism and its representation in art. State Museum of the History of Religion, which were At the opening session, I. F. Popova (Institute of printed over a hundred years ago and procured by Aca- Oriental Manuscripts RAS), E. A. Teryukova (State Mu- demician V. M. Alekseev during his trip of northern seum of the History of Religion), P. V. Rud' (Kunstkam- China in 1907. R. V. Berezkin (Fudan University) gave era), T. I. Vinogradova (RAS Library), and I. Bez- a talk titled “Zhima and Baojuan Performances in South- ruchenko spoke about museum and private collections of ern Jiangsu in the Modern Period” based on field re- Chinese folk visual arts in Russia, Lithuania, Portugal search conducted in Wuxi, Changshu, Zhangjiagang, and gave an overview of collections from the State Mu- Suzhou and Jingjiang, and was a contribution of undis- seum of the History of Religion, Institute of Oriental puted academic novelty. He demonstrated that today Manuscripts, and Kunstkamera. Lin Ching-chih from the such types of Chinese folk images as zhima (translated National Chengchi University described the use of inno- as “paper horses”), which originally had a ritual purpose, vative digital research methodology in the study of Chi- are becoming a part of sung narrative performances bao- nese folk images and the development of a unified data- juan (“precious scrolls”), which are still popular in some base covering nianhua manufacture and sales centres in regions of Southern Jiangsu. P. A. Tugarinov (State Mu- China, which makes it possible to identify specific re- seum of the History of Religion) focused his talk on the gional functional and stylistic features. phenomenon of contemporary Taiwanese New Year A special session was devoted to folk visual arts in prints and the fact that their imagery is incorporating the 20th century and their contemporary status in China new non-traditional plots and artistic formats. According and Taiwan. In her talk titled “Nianhua Workshop Centre to P. A. Tugarinov, contemporary Taiwanese New Year in Yangjiabu (Shangdong): Traditions and Modernity”, images are an untapped and incredibly informative re- “MANUSCRIPTA” DIARY 69 source for the study of identity formation and awareness ince, they have been classified as intangible cultural heri- among the residents of Taiwan.
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    Bat Cave: Treasures of the Day and Chamber 1 14 Hard wood case carved with bats and clouds 27 Vase with bats, gourd vines, and character 40 Hair ornament with bats in gilt silver and gems 53 Gourd-shaped wall vase with bats and Qing dynasty, 19th century “shou” in underglaze blue Qing dynasty, 19th - early 20th century characters “daji (luck)” in famille-rose enamels Creatures of the Night 1 Dish with bat-and-peach design Mark and period of Qianlong (1736 - 1795), Qianlong period (1736 - 1795), Qing dynasty Cheng Xun Tang Collection Mengdiexuan Collection in famille-rose enamels Qing dynasty Exhibit Checklist and Gallery Floor Plan Mark and period of Yongzheng (1723 - 1735), Huaihaitang Collection Huaihaitang Collection Qing dynasty 41 Copper snuff bottle with Daoist immortals in enamels falangcai 54 Gourd-shaped jade scent holder with bats Hong Kong Museum of Art Collection, 15 Pair of bowls with five bats in underglaze blue 28 Dragon-handled vase with a hundred “ ” Mark and period of Qianlong (1736 - 1795), shou and characters “ (luck)” in openwork Gallery Floor Plan Donated by B.Y. Lam Foundation Mark and period of Yongzheng (1723 - 1735), characters in gilt on lime green ground Qing dynasty daji Qing dynasty Mark and period of Qianlong (1736 - 1795), Qing dynasty (1644 - 1911) Qing dynasty Huaihaitang Collection 2 Dish with bat-and-peach design C. P. Lin Collection Hong Kong Museum of Art Collection in famille-rose enamels Mark and period of Yongzheng (1723 - 1735), Yi Tak Tang Collection 42 Pair dishes with bats, peaches, and seascape 16 Gourd-shaped bottle with bat-and-cloud Qing dynasty in doucai enamels design in doucai enamels 55 Jade pendants in blessings-and-longevity- th 29 Bat-handled vase with floral patterns and Mark and period of Yongzheng (1723 - 1735), Collection of the Art Museum, CUHK, Qing dynasty, 18 century before-your-eyes design characters “ ” in enamels Qing dynasty th Gift of B.
  • East Asian Gothic: a Definition

    East Asian Gothic: a Definition

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kingston University Research Repository ARTICLE DOI: 10.1057/s41599-017-0038-8 OPEN East Asian Gothic: a definition Colette Balmain1 ABSTRACT This paper offers a definition of East Asian Gothic cinema in which a shared cultural mythology, based upon cultural proximity and intra-regional homologies, provides a cinematic template of ghosts and ghouls together with a grotesque menagerie of shape- shifting animals, imagined as either deities or demons. East Asian Gothic is an umbrella term which encompasses the cinemas of PRC, Hong Kong, Taiwan, Japan and South Korea, 1234567890 acknowledging the difficult histories and conflicts between the nations, as well as film making practices and industries. This is in opposition to critical work which views East Asian gothic and horror films as extensions of Japanese horror, and therefore J-Horror as a meta-genre; for example David Kalat in J-Horror (2007) and Axelle Carolyn in It Lives Again! Horror Films in the New Millennium (2008), or focus almost solely on the relationship between contemporary Western and East Asian Horror cinema through an analysis of the remake. In order to demonstrate the transnational and regional flows that form East Asian gothic cinema, this paper focuses in on one of the oldest and most enduring gothic figures found in literature and mythology across East Asia, the nine-tailed fox: known as the huli jin in China, gumiho in Korea and kitsune in Japan. While much has been written about the vengeful ghost, little attention has been paid to that of the fox-spirit even though ‘she’ is ubiquitous in East Asian popular culture.
  • CHINA Senior Immersion Tour April 14-24, 2017 Tour from Beijing to Xian

    CHINA Senior Immersion Tour April 14-24, 2017 Tour from Beijing to Xian

    CHINA Senior Immersion Tour April 14-24, 2017 Tour from Beijing to Xian Immerse yourself in Chinese culture on this 11 day, 10 night trip to China. This special trip, custom designed by Milne Travel for the Montpelier Senior Activity Center, will provide you with interactive opportunities to understand and learn about Chinese medicine and senior life in China while exploring the nation’s rich history and modern transformation. 11 Days / 10 Nights $3,950* per person Trip highlights: Climb the Great Wall of China, visit the Forbidden City Price includes: International airfare, daily breakfast, 7 and Tianamen Square, and see the ancient Terracotta lunches, and 5 dinners, 4-star accommodations, pri- Warriors in Xian. vate tours and transfers with English speaking guides, Experience a full-day traditional Chinese medicine high speed rail, all gratuity and tips. workshop and tour. Learn about Chinese herbal A deposit of $350 per person is due by December 15 medicine, acupuncture, qigong, and more. to reserve a spot. Half payment due Jan. 13 & Full Learn tai chi from a tai chi master. payment due Feb. 14. A minimum of 10 people is required, so tell your friends, including non-MSAC Visit a local senior center, experience local senior members. Make checks payable to Milne Travel. activities, interact with local seniors, watch their *$3,950 per person double occupancy. $495 per performances, and learn Chinese folk dance. person single-room supplement. Rates subject to Visit a local family in a traditional residential area of change until group air is confirmed. Air tax subject to Beijing and learn how to make Chinese dumplings.
  • THE GREAT ERA of ART COLLECTING in CHINA Emperor Taizong and His Followers

    THE GREAT ERA of ART COLLECTING in CHINA Emperor Taizong and His Followers

    BBognaogna ŁakomskaŁakomska Academy of Fine Arts, Gdansk The State Ethnographic Museum in Warsaw Polish Institute of World Art Studies THE GREAT ERA OF ART COLLECTING IN CHINA Emperor Taizong and his followers n 618 AD when the Tang dynasty was founded, the Imperial Storehouse had merely three hundred scrolls, but all of them were regarded as treasures Ihanded down from the Sui dynasty.1) This small collection, however, only began to grow when on the throne sat Emperor Taizong 太宗 (626 – 649 AD) – one of the greatest art collectors of all times. An excellent scholar and calligra- pher, interested in art himself, Taizong almost fanatically began to buy art from private individuals.2) As a result, by the year 632 AD in the imperial collection there were already over 1,500 scrolls of calligraphy.3) The Imperial Storehouse was much more than simply a repository for art works. It was an exclusive institution uniting excellent intellectuals, artists and capable officials, who also were outstanding experts in art. Its core constituted a counsel of three authorities: Yu Shinan 虞世南 (558 – 638 AD) – once Emperor Taizong’s teacher of calligraphy; Wei Zheng 魏徵 (580 – 643 AD) – a brilliant officer and the emperor’s adviser; and Chu Suiliang 褚遂良 (597 – 658 AD) – 1) Acker (1979: 127). 2) In sponsored by the Emperor Huizong 徽宗 (1100 – 1126) the Xuanhe Huapu宣和画谱 (Catalogue of Paintings of the Xuanhe Emperor [Huizong]), there is a following description of Emperor Taizong as an artist as well as a patron of art: “…Taizong was good at fei bai飞白 (fl ying white) and gave some of his pieces in it to his top offi cials.