/ / ArtsInfo 2/ 12/2016
1. ) で で Susan Huang ち Nixi Cura Arts of China Consortium プ 2. と ぞ プ 》 3. な ち ち 4. ほ (Big5) (IME)べ 5. call for paper 6. ふ ふ
■ 1.! 2.! 3.! 4. 5. レ 6. レ 7. げ
■ 1.! 2.! 3.! 4.! 5.! 6.! に 7.! に 8.! に 9.! 。 10.! 11.! 12.! レ 13.!
■ レ 1. Royal Ontario Museum 2.! National Library of Australia 3.! The Metropolitan Museum of Art 4.! Nelson-Atkins Museum of Art 5.! Newark Museum 6.! Cleveland Museum of Art 7.! Getty Center 8.! Museum of Fine Arts, Boston (MFA) 9.! Seattle Art Museum
1.!
1 2016/01/09~2016/03/29 202,204,206,208,210,212 ぎ だ ち な ち ぞ ち — ち て お ち http://theme.npm.edu.tw/exh105/dongqichang/ch/index.html ( シ )
2) — 12 14 2015/12/25~2017/04/18 203 http://theme.npm.edu.tw/exh104/Celadons/ch/index.html ち — ち ち っ 「 ち ち し ち ウ ち し ち ちか 《 - へ ぞ ち ち《 3) う — ジ 2014/08/01~ 106 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04005700
4 2014/11/29~ 304 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04005847
5 っ ち — 2015/03/31~2016/02/28 303 http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04006182
6) だ は ゅ 2016/02/01~2016/04/17 103,104
だ ち ゅ っ だ ・ お だ な っ ちお ち ち おだ ち ゅ ト ち
2.!
1) : た —
S101 2015/12/28--2016/4/10 — ち ちぞ だ ジ ち おかち た ちぞ ち
2) — レ S303 おち ち ち パ ち ち ち パ ち ち レ ち )
3) — / S202 http://south.npm.gov.tw/zh-TW/NormalExhibition な ち ぎ ほ 》 ち ち ぞ な ち
4) — ム S304 ム ち ム ち ち ム ちム っ ム タ ム ム ちム ム ち ム ち
3.!
1 10/14
2) 10/21
3) 10/29-2016/02/27
http://museum.sinica.edu.tw/exhibition.php
4. な ─ で http://www.fgsbmc.org.tw/news_exhibition_c.aspx?Id=20151004 : / :2015-11-14 2016-02-28
5. レ
1) ば―
2015/12/19-2016/3/13 ば― ぎ お 170 ち ち り ち ち2 ち コ― ち ョ ち ち ロち お ち ち レ ⁄ ち レ レ ぞ ョ ロ ち レ ち パぎ ち ば パ ち が ち の レ ち ト い ち
2) — だ 105-01-23 ~ 105-05-15
(1917 2008) お 、 。 お ン — ー 。— 1977 が ぞ 」 に ち ョ レを 2005 2016 だ レ レ ー ちジ お た ─ だ そ げ レ お ん 1934 2008 103 お こおジ ち お ジ レ ち
6. レ
— 2015 12 19 2016 2 21 700 152 レ れ ち 70 164 お — ち ョ ち ち ちお — ご ふ ち ラ パ
7. げ
げ か 2016/2/3-3/31 げ
え ち ジ 12 — ジ ち ち ジ ち ち ジ ち ち ち ち パ 8 が ト とせ ち “ ” ほグ ロ か ち ほ ち http://www.mwr.org.tw/2016dazu/
1.!
1 2014.7.23 – ( ) http://www.lcsd.gov.hk/CE/Museum/Arts/zh_TW/web/ma/teaware03.html
2 も ジ も ( ) http://www.lcsd.gov.hk/CE/Museum/Arts/zh_TW/web/ma/mt-permanent-exhibition.html
2.! 1) —— 2015 9 30 2016 8 31 よ
3.!
—— 2015 7 14 —2016 2 28 D http://www.capitalmuseum.org.cn/zlxx/content/2015-07/03/content_62267.htm
4.!
1) 2015 12 10 2016 3 13 な 97 113 http://mp.weixin.qq.com/s?__biz=MzAxODExODEzOQ%3D%3D&mid=400961381&idx= 1&sn=049aac61aadee2765f20f1e9194e57c9&scene=2&srcid=1124UqnR1HhmYq6KhQfx7ahJ &from=timeline&isappinstalled=0#wechat_redirect
5.! "オ の : ” 2015 5 1 2016 4 15 http://www.tjbwg.com/ExhibitionInfo_3394.html
6.!
1 あ —— 2014-11-27—2016-11-30 http://www.zhejiangmuseum.com/showexhibition.do?status=detail&id=132 2015 11 13 -2016 4 5 に E 47 ち 500 ジ 9:00-17:00
7. に 1 —— 2015 5 16 ~ に 5 http://www.lnmuseum.com.cn/news/index.asp?ChannelID=606 8. に
ぞ
ち ぞ ぞ 11 17 に 5 ョ ちジレ 113 http://mp.weixin.qq.com/s?__biz=MzA4OTMwODEwMw%3D%3D&mid=400770099&idx=1 &sn=ad71bd21b09e7b9b05fef2f57693f7c4&scene=2&srcid=1117GNRGHBTKXFHgjkBfUEl9 &from=timeline&isappinstalled=0#wechat_redirect
9. 。 ——。 2015 11 30 ——2016 3 6
10.
1 2015 4 7 2016 4 10 1 http://www.tnm.jp/modules/r_exhibition/index.php?controller=item&id=3999
2 け 2015 4 14 2016 4 10 7 http://www.tnm.jp/modules/r_exhibition/index.php?controller=item&id=3904 ほ
3 2015 4 7 2016 4 10 2 http://www.tnm.jp/modules/r_exhibition/index.php?controller=item&id=4234 ほ
4 け 2015 4 14 2016 4 10 7 http://www.tnm.jp/modules/r_exhibition/index.php?controller=item&id=3904 1 2 に に め リ め み や げ お け け け に ほ
5 っ 2015 10 27 2016 2 21 ほ http://www.tnm.jp/modules/r_free_page/index.php?id=1732 に っ ち っ “ げ”
6) の 15 2016 1 2 2016 2 28 1867 1935 5 1930 10 の エ 1901 92 エ エ 4000 々 の 25 2013 エ エ の 〜 エ の 26 と の ほ http://www.tnm.jp/modules/r_free_page/index.php?id=1771
11.
ほ 28 3 ( ) http://www.narahaku.go.jp/exhibition/sakamoto.html 380 リ が ほ レ ( ) レ お ( ) ( ) B.C.17 A.D.3 2,000 ( ) ( ) 3 ( ) げ
12. レ
レ レ : 2016 1 20 ( ) 2016 4 4 ( ) : : 10 6 / 8 /* 30 : レ け ほ 1E http://www.nact.jp/
ょま 1880-1943 レ ち レ 1930 げ と レ お け 1881-1929 レ レ レ レ
レ レ け レ レ レ セ 1 レ
13.
1150 た 250 2016 28 4 12 5 22 ( ほ ) ふ http://zen.exhn.jp/
レ 1. Royal Ontario Museum
Made in China: Cultural Encounters through Export Art Closing August 2016. This exhibition explores the lasting impact of cultural encounters between Europe and China on an important artistic tradition. While art is often inspired by the surrounding culture and politics, Chinese export art was also influenced by its target audience. Chinese artists and artisans responded to the growing demand for Chinese export art in Europe during the 18th century by appealing strategically to western taste, and adopting European painting techniques and styles. At the same time, the romanticized view of China portrayed in export art only left Europeans craving more from this imagined and idealized region. With artifacts from the ROM’s unique Chinese, European, and Natural History collections, including impressive works on pith, leaves, paper, and porcelain, this exhibition places the globally recognized trademark “Made in China” into historical context. https://www.rom.on.ca/en/exhibitions-galleries/exhibitions/made-in-china-cultural-encounters-th rough
2. National Library of Australia, Exhibition Gallery, Ground floor Celestial Empire: Life in China 1644-1911 2016 1 2 —5 22 10.00am-5.00pm な 1644-1911 げ だ ち ち お ち ぞ ち な さ ち 88 ち 80 お ポち 270 ち グ お ん ど だな http://www.nla.gov.au/ http://mp.weixin.qq.com/s?__biz=MzA5NDU4NjkwMQ%3D%3D&mid=401065091&idx=1 &sn=1ab6503acec2cd7628b9c235816e323b&scene=2&srcid=12286CBpu4oKNHqQ3n6kYnYI &from=timeline&isappinstalled=0#wechat_redirect
3. The Metropolitan Museum of Art
1 A Passion for Jade The Heber Bishop Collection March 14, 2015–June 19, 2016 http://www.metmuseum.org/exhibitions/listings/2015/passion-for-jade Heber R. Bishop's collection of carved jades was formed in the last quarter of the nineteenth century and bequeathed to the Metropolitan Museum in 1902. Consisting of over one thousand pieces—primarily Chinese jades of the eighteenth and nineteenth centuries, as well as jades from Mughal India—it was the first major collection of its kind in the country. This exhibition features a selection of the finest examples from this renowned collection and celebrates the hundredth anniversary of the Department of Asian Art. 2 Chinese Textiles Eight Centuries of Masterpieces from the Met Collection September 12, 2015–June 19, 2016 http://www.metmuseum.org/exhibitions/listings/2015/chinese-textiles This installation, which explores the cultural importance of silk in China, will showcase the most important and unusual textiles from the Museum's collection. In addition to three rare pieces dating from the Tang dynasty (618–906), when China served as a cultural hub linking Korea and Japan to Central and West Asia, and, ultimately to the Mediterranean world, the exhibition also includes eleventh- and twelfth-century tapestries from Central Asia, as well as contemporaneous Chinese examples of this technique. Spectacular embroideries—including an imperial fourteenth-century canopy decorated with phoenixes and flowers, and a monumental late seventeenth- or early eighteenth-century panel showing phoenixes in a garden—will also be on view, together with theatrical garments, court costumes, and early examples of badges worn at court to designate rank.
3 Chinese Lacquer Treasures from the Irving Collection, 12th–18th Century September 12, 2015–June 19, 2016 http://www.metmuseum.org/exhibitions/listings/2015/chinese-lacquer Lacquer, the resin of a family of trees found throughout southern China—as well as in Southeast Asia, Korea, and Japan—is an amazing material. When exposed to oxygen and humidity, lacquer hardens or polymerizes, becoming a natural plastic and an ideal protective covering for screens, trays, and other implements. Mixed with pigments, particularly cinnabar (red) and carbon (black), lacquer has been also used as an artistic media for millennia. This installation, which features all of the most important examples of Chinese lacquer in the Museum's collection, explores the laborious techniques used to create scenes based on history and literature, images of popular gods and mythical and real animals, and representations of landscapes and flowers and birds.
4 Masterpieces of Chinese Painting from the Metropolitan Collection
October 31, 2015–October 11, 2016 http://www.metmuseum.org/exhibitions/listings/2015/masterpieces-of-chinese-painting http://mp.weixin.qq.com/s?__biz=MzA3MTUxMzEzNw%3D%3D&mid=217305488&idx=1 &sn=275e62d512416c4ec9ae7e534ce0f4b3&scene=0#rd This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368) dynasties. ( )
4. Nelson-Atkins Museum of Art
Flowers to Frost: Four Seasons in East Asian Art July 18, 2015–July 17, 2016 http://www.nelson-atkins.org/art/exhibitions/flowers-to-frost.cfm
5. Newark Museum
1 China's China Porcelain, Earthenware, Stoneware & Glazes Now on View http://www.newarkmuseum.org/china.html Over 2,000 years of ceramic excellence are showcased with meaningful selections to feature a range of different techniques through both figural and practical forms. Dating from seven different dynastic periods—stretching from the second century BC to contemporary works—this installation provides a profound rationale for why the name of the country became a synonym for the ceramic arts while demonstrating an abridged introduction of some of the most significant and celebrated ceramic types in Chinese history.
2 Red Luster Lacquer & Leatherworks of Asia Ongoing http://www.newarkmuseum.org/red-luster For the past two thousand years—far before the development of plastic laminations and modern-day adhesives—lacquer was (and remains) a superior material. Red Luster: Lacquer and Leatherworks of Asia demonstrates the aesthetic impact of red lacquer and its faux imitators in leatherworks and other materials. The glossy sheen, slick texture and deep colors of lacquer have long been a prized material throughout Asia but the materials to create “true lacquers” do not exist in all of Asia. Different raw materials originating from different types of trees and even insects distinguish East Asian lacquers (China, Japan and Korea) from those of Central and South Asia (Turkey, Iran, India and Tibet) or Southeast Asia (Myanmar). The relatively slow construction process, coupled with regionally restricted supplies of raw material, made production relatively exclusive. Thus all of Asia also developed imitation or faux lacquers created by an even greater variety of materials and techniques. Many faux lacquers became important forms of art in their own right. This is the first lacquer exhibition to span the vastly different cultural and historical legacies of Asia from the Near to Far East.
6. Cleveland Museum of Art
Silent Poetry: Masterpieces of Chinese Painting
11/14/2015-04/24/2016
http://www.clevelandart.org/events/exhibitions/silent-poetry-masterworks-chinese-painting
7. Getty Center Cave Temples of Dunhuang: Buddhist Art on China's Silk Road May 7–September 4, 2016, GETTY CENTER The Mogao caves, located near the town of Dunhuang in the Gobi Desert of northwest China, comprise some 500 decorated Buddhist cave temples dating from the 4th to the 14th century. Filled with exquisite wall paintings and sculptures, the caves bear witness to the intense religious, artistic, and cultural exchanges along the Silk Road, the trade routes linking East and West. Cave Temples of Dunhuang: Buddhist Art on China's Silk Road features numerous objects originally from the site—such as paintings and manuscripts that have rarely, if ever, traveled to the United States, as well as three spectacular full-size cave replicas. The exhibition celebrates more than 25 years of collaboration between the Getty Conservation Institute and the Dunhuang Academy to preserve this UNESCO World Heritage Site.
8. Museum of Fine Arts, Boston (MFA)
a new display of art from the prosperous and vibrant Song dynasty (960-1279) 02/06/2016 Beyond this new display, visitors can explore six additional galleries dedicated to Chinese art at the MFA, highlighting sculpture, ceramics and Bronze Age art, as well as Chinese furnishings, scholarly objects and Buddhist art. Beyond the Screen evokes an elegant courtyard household from the late Ming period, highlighting Chinese furniture of the 16th and 17th centuries. http://www.mfa.org/news/song-gallery
9. Seattle Art Museum JOURNEY TO DUNHUANG: BUDDHIST ART OF THE SILK ROAD CAVES MAR 5 – JUN 12 2016 ASIAN ART MUSEUM FOSTER GALLERIES Located at China’s western frontier, the ancient city of Dunhuang lays at the convergence of the northern and southern routes of the Silk Road—at a crossroads of the civilizations of East Asia, Central Asia, and the Western world. From the late fourth century and until the decline of the Silk Road in the fourteenth century, Dunhuang was a bustling desert oasis—a center of trade and pilgrimage, and a gateway for new forms of art, culture, and religions.
This exhibition brings us the wonders of Dunhuang’s caves seen through the eyes of James and Lucy Lo featuring a comprehensive selection of their photographs, manuscripts, and artist renditions.
In 1943, during World War II, photojournalist James C. M. Lo (1902–1987) and his wife, Lucy, a photographer, arrived at Dunhuang by horse and donkey-drawn cart. Their ambitious 18-month project produced over 2500 black and white images that record the caves as they were in the mid-20th century, capturing many views of the interiors and exteriors that no longer exist today. They also collected fragments of ancient texts and drawings–now the largest collection of Dunhuang manuscripts in the U.S.
After moving to Taiwan in the 1950s, the couple invited a group of young artists to produce life-size copies of their cave mural photographs, and coloring was added to the renderings.
These remarkable works on view are testament to James and Lucy Lo’s mission to preserve and transmit the visual splendors of this ancient site.
The exhibition is organized in cooperation with the Princeton University Art Museum and the P.Y. and Kinmay W. Tang Center for East Asian Art.
http://www.seattleartmuseum.org/Exhibitions/Details?EventId=42562
1. An Historian's Exploration of the Visual Culture of Song China Prof. Patricia Ebrey (University of Washington) 2016 2 25 3:00-5:00
1. ち な 27 ち 27 ち 2015 3 17 14:30 ~ 17:00 3 ) 1. 30 す 15 2. 30 す 15 け - 3. 60 す 15 ぼ ―
1. 2016
2016 7 15-25 エ I. エ II. 2016 7 15-25 2016 7 15 2016 7 16-19 2016 7 20 2016 7 21-22 2016 7 23-24 ) 2016 7 25 III. : ) ( 3 120 ち ) Professor Jinhua Chen (Department of Asian Studies, University of British Columbia, Canada ): International Characteristics of Buddhism: East Asian Perspectives ; Professor James Robson (Department of East Asian Languages and Civilizations, Harvard University レ ): “Sacred Geography” in East Asia “ ”; Professor Barend ter Haar き (Faculty of Oriental Studies, University of Oxford ): Enlisting the Divine Realm: Witches, Mediums, Shamans and Buddhist Critique ち . ぎ ち
IV. : ち ム : ち - ち 2016 7 21-22 エ ( http://blogs.ubc.ca/dewei/call-for-papers-the-second-international-conference-on-the-wutai-cult/) 2016 7 19 エ る ぞ ち ち ち ち Studies in Chinese Religions ( ろ Routledge ) 1-2 お ちら ら — ( ) な ち く 7 23-24 ち ち ( り ) V.く ョ: と ち [ ぞ ぞ ] ら な ち お く 2015 4 20 [email protected] く
く パぎ クッ く ち ぞ ぞ ち ぎ ど ぐ ク VI. が ち ── ち が── (1000 )── 2016 Summer Program: Buddhism and East Asian Cultures Buddhism and East Asian Cultures: An Intensive Program of Lectures Series, Conference/Forum, and Fieldwork July 15-25, 2016, Mount Wutai & Datong , China The Wutai International Institute of Buddhism and East Asian Cultures (WII), Institute for Ethics and Religions Studies (IERS) at Tsinghua University, Buddhist Studies Forum at Fudan University (FU-BSF), and the Buddhist Studies Forum at the University of British Columbia (UBC-BSF) in Vancouver, Canada cordially invite applications for a 10-day program of lecture series, conference/forum, and fieldwork on Buddhism and East Asian Cultures (July 15-25, 2016) at Great Sage Monastery of Bamboo Grove (Dasheng Zhulin si エ ), Mount Wutai , and Datong, Shanxi, China. I. Venue Great Sage Monastery of Bamboo Grove (Dasheng Zhulin si エ ), Mount Wutai , Shanxi, China II. Schedule——July 15-25, 2016 July 15, 2016 Registration July 16-19, 2016 Main Programs (lectures and Students’ Forum) July 20, 2016 Tour on Mount Wutai July 21-22, 2016: Wutai Cult Conference; July 23-24, 2016: Tour in Datong; July 25, 2016 Home-going III. Four-part Lecture Series: The program organizers have invited three international scholars to conduct, all bilingually (English and Chinese), a three-part lecture series related to Buddhism and East Asian Culture, with each part composed of three consecutive 120-minute lectures with a general theme (over three days). These three bilingual speakers and their lecture themes are: Professor Jinhua Chen (Department of Asian Studies, University of British Columbia, Canada): International Characteristics of Buddhism: East Asian Perspectives ; Professor James Robson (Department of East Asian Languages and Civilization, Harvard University): “Sacred Geography” in East Asia “ ”; Professor Barend ter Haar (Faculty of Oriental Studies, University of Oxford): Enlisting the Divine Realm: Witches, Mediums, Shamans and Buddhist Critique ち . This three-part lecture series will be accompanied by five lectures delivered by five China-based scholars on Buddhism and East Asian cultures. IV. Four Additional Projects: In addition to this four-part intensive lecture series, this program also sponsors the following four projects: An international conference on the Wutai-Mañjuśrī cult, titled “Mañjuśrī in Motion: The Cross-cultural Characteristics and ‘International’ Impact of the Wutai Cult,” to be held at the Great Sage Monastery of Bamboo Grove at Mount Wutai, July 19, 21-22, 2016 (conference information announced at http://blogs.ubc.ca/dewei/call-for-papers-the-second-international-conference-on-the-wutai-cult/). An International Young Scholars Forum on Buddhism and East Asian Cultures (July 16 at the Great Sage Monastery of Bamboo Grove). Excellent articles may be recommended to academic journals for publication. They include the Fojiao wenxian yanjiu (Studies on Buddhist Texts), Foxue yanjiu (Buddhist Studies), Fojiao shi yanjiu (Historical Studies of Buddhism), Studies in Chinese Religions, edited by Prof. Fang Guangchang, Prof. Shengkai, Prof. Sun Yinggang, and Prof. Jinhua Chen, respectively. Taste of the Dharma: a series of 1-2 hour sessions providing monastic experiences, including seated meditation, tea-ceremony and other temple rituals. Occasional visits to renowned local historical sites (especially Buddhist and other religious temples and shines) on the Wutai range. Students with relevant research interests may also apply to participate in an additional two-day (July 23-24) tour in Datong. V. Applications: Participants are required to take part in all of the activities supported by this program, including the four-part lecture series, the regular conference and the Young Scholar Forum (paper presentations are optional, but attendance is required), field trips on the Wutai range (that in Datong is optional), monastic experience session, etc. Graduate students specializing in any Buddhist tradition(s) or East Asian religions, and postdoctoral fellows working on relevant fields, are encouraged to apply. Please direct applications and inquiries to [email protected]. Please submit applications before April 1, 2016. Each application should include (1) an application form (to be provided upon request via the above email), (2) an updated curriculum vitae, (3) one writing sample, and (4) a reference letter (to be emailed by the referee directly to the above email address). VI. Program Expenses: Successful candidates will be exempted from all tuition fees. Program organizers will also provide free boarding (lodging and meals) in China during the program period, although participants are expected to cover the costs for the transportation between their home cities and Mount Wutai; and an administration fee of 1,000RMB≈US$150.
Call for paper 1. Memorial landscapes: World images East and West International Warburg Seminar, Hamburg University / Aby Warburg Foundation, Hamburg, in cooperation with National Taiwan Normal University and National Taiwan University, Taipei The 2016-2017 International Warburg Seminar, to be held in Taipei on 26-30 September 2016 and in Hamburg on 3-7 April 2017 and aimed at doctoral candidates and young academics, will be devoted to comparative views of the landscape genre. People’s perception of their surrounding landscape is subject to a variety of cultural encodings. This becomes particularly clear when international comparisons are made – between, say, Eastern and Western conceptions of landscape. Whereas in the Western world ‘landscape’ and ‘landscape painting’ are practically synonymous (‘Claude Lorrain’s landscapes’), the Chinese language, for instance, uses very different terms for the two concepts: ‘landscape’ in the sense of a vista, (jǐngsè), is thus conceptually quite separate from the traditional notion of landscape painting, (shānshuǐ), which is composed of the characters for ‘mountain’ ( ) and ‘water’ ( ). At the same time, notions of landscape are subject to constant historical change, and the landscape painting genre has performed a whole series of different tasks which may also vary from period to period. Landscapes are not only veduta-like depictions of nature, but they also provide subjective perspectives on the artist’s realm of experience; they may be outlines for ideal or world landscapes that are more or less distinct from their natural models; and they may be much else besides. The International Warburg Seminar on Memorial landscapes: world images East and West will focus not so much on aspects of landscape that only depict natural settings as on those that address the construction of cultural links in the broadest sense, creating landscapes with a motivic, thematic, social or political charge – to paraphrase Pierre Nora, paysages de mémoire. Such landscape images encapsulate historical events and national identities, basic philosophical attitudes and political conflicts or cultural, social or environmental issues. The landscape can then become not only a form of reflection on links beyond landscape itself, but also a meta-genre that expresses how nature and landscape are perceived by a particular artist, cultural region or period. Doctoral candidates or young post-graduate art historians from all over the world are invited to submit proposals for the seminar theme. These may include both proposals in the field of Asian and Western art history during any period from the Middle Ages to the present day, as well as – and in particular – themes that already deal with transfer between Eastern and Western notions of landscape. Participants will be expected to give a talk on their proposal. It is planned that proposals accepted for the seminar will be published. During the first week of the seminar, in autumn 2016, all the participants will present preliminary papers which will be further developed in the light of discussions in preparation for the second week of the seminar. The contributions will be jointly edited during the spring 2017 session. All travel and accommodation expenses will be covered by the organizers. The seminar will be held in English. Applications including a detailed thematic proposal (max. two pages), a CV (resume), a list of relevant publications and a letter of recommendation from the applicant’s academic supervisor or a senior researcher must be submitted in PDF format by 10 March 2016 to Professor Shai-Shu Tzeng, National Taiwan Normal University ([email protected]), Professor Yih-Fen Hua, National Taiwan University ([email protected]) and Professor Uwe Fleckner, University of Hamburg ([email protected]).
2. All the Beauty of the World (Berlin, 13-15 Oct 16) Berlin, October 13-15, 2016 Deadline: Feb 15, 2016 All the Beauty of the World.The Western Market for non-European Artefacts (18th-20th century) International Symposium Berlin, Germany In the wake of the Western expansion, a fast growing number of non-European artefacts entered the European market. They initially made their way into princely cabinets of curiosities. Enabled by the forced opening and exploitation of more and more parts of the world and pushed by social and technological changes of the time, the 18th century brought a boom of the market of non-European artefacts in Europe. This came along with the emergence of a broader collecting culture and the development of a rich museumscape. This market and its development in terms of methods and places of exchange and monetary and ideological value of the objects are in the focus of an international symposium organised by the Institute for Art History in cooperation with the Center for Art Market Studies at Technical University Berlin, in collaboration with the Institut d'histoire moderne et contemporaine (CNRS) and the Labex TransferS (PSL) in Paris. The keynote lecture will be given by Prof. Timothy Brook, holder of the Republic of China Chair at the University of British Columbia. The aim of the symposium is to examine how the market for non-European artefacts developed between 18th and 20th century and to which extend it was entangled with the history of museums and private collections. The following five topics will serve as main axis: actors and networks, places of purchase and trade, transfer and transport, prices and value and expertise. The axes are entangled and should not be regarded as separated topics. 1. Actors and networks: Who were the actors of the market (e.g. art dealers, commercial agents, carriers but also diplomats, travellers, expats, missionaries or military as well as museums and collectors)? Which regional specifications can be identified? Who were the key figures of the market(s)? Which networks can be spotted? How did they work? 2. Places of purchase and trade: What were the centres of the purchase and/or trade of art objects (in the countries of origin as well as in Europe)? How did they develop in the course of the period of examination? Which significance did the primary markets and their political/social development have for the European market? Did the European market turned into the primary market at a certain time? What were the main places for purchase and trade in Europe (e.g. auctions houses, galleries, private houses)? What marketing methods can be identified? 3. Transfer and transport: What were the (political, social, technological) circumstances of the objects purchase? To which extend did technological developments (e.g. establishment of railway lines) influence the market offer? How were the objects brought to Europe (e.g. export and import regulations, methods of transport)? 4. Prices and value: Which payment methods or methods of exchange did exist? How did they impact the value of objects? How was the value of an object determined? To which extend did this value change in space and time (difference between primary and secondary market; development in the course of time)? Despite the monetary value of a price: which other function in the act of purchase can be identified (e.g. legitimation of possession)? And to which extend did the change of the price and value shape the European collections? Here, we are especially interested in the shift from an economy of looting or/and bazaar in the countries of origin to the pricing and “rational” marketing after the arrival and commercialisation of the objects in Europe. 5. Expertise: How did the perception of and the knowledge about non-European art develop? How was the knowledge generated and transferred? Which role did individual actors (e.g. dealers, museums, collectors) play in the development of the perception of the objects? To which extend did the development of expertise influence the market offer, the display of the objects and the character of the collections? The focus of the investigation will be set on the development between 18th and 20th century. Papers exploring the market development before 18th century and especially those comparing the development before and after 1700 are also welcome. Conference language is English. Papers should be a maximum of 20 minutes in length, and preference will be given to proposals that stimulate dialogue and engage with broader topics. Please send proposals (max. 300 words) with a short academic CV to [email protected] by 15 February 2016 at the latest. Selected speakers will be notified by 15 March 2016. Financial assistance with travel expenses for speakers may be available (subject to grant approval). Convenors: Prof. Dr. Bénédicte Savoy (TU Berlin) Dr. Charlotte Guichard (CNRS, IHMC, Paris) Dr. Christine Howald (TU Berlin) http://arthist.net/archive/11972
1) Scrolling Paintings Project
University of Chicago https://lucian.uchicago.edu/blogs/caea/scrolling-paintings/
Handscroll paintings, painted horizontally on a pieces of silk or sheets of paper and mounted as scrolls, are a major type of traditional East Asian painting, distinctive in their format and method of viewing. Their creation is based on special principles that differ from those of painting single-framed pictures as they are continuous pictures that progress in space and time. Handscroll paintings are meant to be handled as well as seen–unrolled for viewing and rolled up for storage. Viewing section by section calls for particular kinds of engagement or participation on the part of the viewer moving forward (from left to right) stopping and going back. In addition to painted images, the scrolls often include handwritten text, artists’ signatures and seals, and the seals of later owners of the painting. The texts might include narrative and descriptive passages on the painting itself and colophons added at the end, including comments by of the painters’ associates and later viewers, including owners of the paintings. These can provide a social history of the painting.
Because of the rare and fragile nature of these paintings, however, they are rarely shown. They cannot be handled by the public or exposed to light for extended periods in exhibitions. Therefore our center created this interactive site to simulate the experience of viewing handscrolls in ways that published photographs in books and projected slides cannot and to make them more widely accessible for teaching and research.
2) に と http://webgis.sinica.edu.tw/place/ ち ち ちじ か ち わ ち ちだろ ち プ ち ちと ッ ちつ と ち ち と が プ ッち と ッ に と リ ヨ な が ッ ち お し に と ど な ち が ど ち ッ な ち と ち ッ が と ろ 1985 と 1949 だ に と と 2000 と 1949 に ち と を し し 1949 ち ョ が
Masterpieces of Chinese Painting from the Metropolitan Collection Rotation 1: 10/31/2015–4/17/2016 Rotation 2: 5/7/2016–10/11/2016
During the last forty years, the Metropolitan’s collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. With masterpieces dating from the Tang dynasty (608–917) to the Qing (1644–1911), the collection encompasses the vast historical sweep of the brush arts of China, from meticulous court painting to fiercely brushed dragons to lyrical paintings by scholars. The exhibition is part of a yearlong celebration marking the centennial of the Department of Asian Art. This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368) dynasties. 大都会馆藏中国书画精品特展 一期: 10/31/2015–4/17/2016 二期: 5/7/2016–10/11/2016
过去四十年中，大都会博物馆逐渐发展成世上最重要的中国书画收藏機構之一。馆藏囊括唐朝 (618–907) 到當今的历代笔墨精華，從祥和的佛经，到浮夸的宫廷肖像，再到遣興的文人画。展览 将馆藏珍品按時代陈列，对宋 (960–1279)、元 (1271–1368) 两朝尤有侧重。
Rotation 1 一期: 10/31/2015–4/17/2016 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
唐 韓幹 照夜白圖 卷 Han Gan, Chinese, active ca. 742–756 Night-Shining White China Handscroll ca. 750 Handscroll; ink on paper 1977.78
唐 傳鍾紹京 楷書靈飛經 冊 Zhong Shaojing, Chinese, active ca. 713–41 Spiritual Flight Sutra China Album ca. 738 Album of nine leaves; ink on paper 1989.141.1a–i
南宋 佚名 明皇幸蜀圖 軸 Unidentified Artist Emperor Xuanzong's Flight to Shu China Hanging scroll mid-12th century Hanging scroll; ink, color, and gold on silk 41.138
五代/北宋 佚名 乞巧圖 軸 Unidentified Artist Palace Banquet China Hanging scroll Hanging scroll; ink and color on silk 2010.473
北宋 佚名 倣范寬山水圖 軸 Unidentified Artist Fan Kuan, Chinese, active ca. 990–1030 Landscape in the Style of Fan Kuan China Hanging scroll early 12th century Hanging scroll; ink and color on silk 56.151
1 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
北宋 黃庭堅 草書廉頗藺相如傳 卷 Huang Tingjian, Chinese, 1045–1105 Biographies of Lian Po and Lin Xiangru China Handscroll ca. 1095 Handscroll; ink on paper 1989.363.4
北宋 李公麟 孝經圖 卷 Li Gonglin, Chinese, ca. 1041–1106 The Classic of Filial Piety China Handscrolls ca. 1085 Three handscrolls: a) painting, ink on silk; b) colophons, ink on paper; c) modern copy preserving seventeenth century silk restorations, ink on paper and silk 1996.479a–c
北宋 佚名 睢陽五老, 畢世長像 冊頁 Unidentified Artist Portrait of Bi Shichang, from the set Five Old Men of Suiyang China Album leaf before 1056 Album leaf; ink and color on silk 17.170.1
南宋 高宗 草書天山陰雨七絕詩 團扇 Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162 Quatrain on Heavenly Mountain China Fan mounted as an album leaf after 1162 Round fan mounted as album leaf; ink on silk 1989.363.6
2 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
南宋 楊皇后 楷書瀹雪凝酥七絕 團扇 Empress Yang Meizi, Chinese, 1162–1232 Quatrain on Yellow Roses China Fan mounted as an album leaf Fan mounted as an album leaf; ink on silk 1989.363.13
南宋 馬遠 月下賞梅圖 團扇冊頁 絹本 Ma Yuan, Chinese, active ca. 1190–1225 Viewing Plum Blossoms by Moonlight China Folding fan mounted as an album leaf early 13th century Fan mounted as an album leaf; ink and color on silk 1986.493.2
南宋 夏珪 山市晴嵐圖 冊頁 Xia Gui, Chinese, active ca. 1195–1230 Mountain Market, Clear with Rising Mist China Album leaf early 13th century Album leaf; ink on silk 13.100.102
南宋 理宗趙昀 行書北宋梅堯臣 依韻和資政侍郎雪後登看山亭詩 團扇 Emperor Lizong, Chinese, 1205–64, r. 1224–64 Quatrain on Snow-covered West Lake China Fan mounted as an album leaf Fan mounted as an album leaf; ink on silk 1989.363.18
3 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
南宋 趙孟堅 水仙圖 卷 Zhao Mengjian, Chinese, 1199–before 1267 Narcissus China Handscroll mid-13th century Handscroll; ink on paper 1973.120.4
南宋 趙孟堅 行書梅竹詩譜 卷 Zhao Mengjian, Chinese, 1199–before 1267 Poems on Painting Plum Blossoms and Bamboo China Handscroll dated 1260 Handscroll; ink on paper 1989.363.28
元 耶律楚材 行書贈別劉滿詩 卷 Yelü Chucai, Khitan, 1190–1244 Poem of Farewell to Liu Man China Handscroll dated 1240 Handscroll; ink on paper 1989.363.17
北宋 傳黃宗道 舊傳李贊華 獵鹿圖 卷 Huang Zongdao, Chinese, active ca. 1120 Li Zanhua, Chinese, 899–936 Stag Hunt China Handscroll Handscroll; ink and color on paper 1982.3.1
北宋 傳楊邦基 聘金圖 卷 Yang Bangji, Chinese, ca. 1110–1181 A Diplomatic Mission to the Jin China Handscroll ca. late 1150s Handscroll; ink and color on silk 1982.1.1
4 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
南宋 傳陳居中 胡騎春獵圖 團扇 Chen Juzhong, Chinese, active 1200–1230 Nomads Hunting with Falcons China Fan mounted as an album leaf early 13th century Fan mounted as an album leaf; ink and color on silk 47.18.32
元 佚名 蓮花圖 軸 Unidentified Artist Lotus and Water Birds China Hanging scrolls ca. 1300 Pair of hanging scrolls; ink and color on silk 1988.155a, b
南宋 佚名 阿彌陀如來圖 軸 Unidentified Artist Buddha Amitabha Descending from His Pure Land China Hanging scroll 13th century Hanging scroll; ink and color on silk 1980.275
元 李堯夫 蘆葉達摩圖 軸 Li Yaofu, Chinese, active ca. 1300 Bodhidharma Crossing the Yangzi River on a Reed China Hanging scroll before 1317 Hanging scroll; ink on paper 1982.1.2
5 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
南宋 傳直翁 藥山李翱問道圖 軸 Zhiweng, Chinese, active first half of the 13th century Meeting between Yaoshan and Li Ao China Album leaf mounted as a hanging scroll before 1256 Album leaf mounted as a hanging scroll; ink on paper 1982.2.1
南宋 佚名 騎驢圖 軸 Unidentified Artist Chan Master Riding a Mule China Hanging scroll before 1249 Hanging scroll; ink on paper 1989.363.24
元 趙蒼雲 劉晨阮肇入天台山圖卷 Zhao Cangyun, Chinese, active late 13th–early 14th century Liu Chen and Ruan Zhao Entering the Tiantai Mountains China Handscroll Handscroll; ink on paper 2005.494.1
元 趙孟頫, 趙雍, 趙麟 吳興趙氏三世人馬圖 卷 Zhao Mengfu, Chinese, 1254–1322 Zhao Yong, Chinese, 1289–after 1360 Zhao Lin, Chinese, active second half of the 14th century Horses and Grooms China Handscroll 1296 and 1359 Handscroll; ink and color on paper 1988.135
元 張羽材 霖雨圖 卷 Zhang Yucai, Chinese, active 1295–1316 Beneficent Rain China Handscroll late 13th–early 14th century Handscroll; ink on silk 1985.227.2
6 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
元 周東卿 漁樂圖 卷 Zhou Dongqing, Chinese, active late 13th century The Pleasures of Fishes China Handscroll dated 1291 Handscroll; ink and color on paper 47.18.10
元 方從義 雲山圖 卷 Fang Congyi, Chinese, ca. 1301–after 1378 Cloudy Mountains China Handscroll second half of 14th century Handscroll; ink and color on paper 1973.121.4
元 倪瓚 秋林野興圖 軸 Ni Zan, Chinese, 1306–1374 Enjoying the Wilderness in an Autumn Grove China Hanging scroll dated 1339 Hanging scroll; ink on paper 1989.363.38
元 張遜 石上松花圖 軸 Zhang Xun, Chinese, ca. 1295–after 1349 Rocky Landscape with Pines China Hanging scroll before 1346 Hanging scroll; ink on silk 2008.673
元 陸廣 丹臺春曉圖 軸 Lu Guang, Chinese, ca. 1300–after 1371 Spring Dawn Over the Elixir Terrace China Hanging scroll ca. 1369 Hanging scroll; ink on paper 1982.2.2
7 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
元 盛懋 秋林漁隱圖 團扇 Sheng Mou, Chinese, active ca. 1310–1360 Recluse Fisherman, Autumn Trees China Fan mounted as an album leaf dated 1349 Fan mounted as an album leaf; ink and color on silk 1973.121.13
元 盛著 秋江垂釣圖 團扇 Sheng Zhu, Chinese, active late 14th century Angling in the Autumn River China Fan mounted as an album leaf ca. 1370 Fan mounted as an album leaf; ink and color on silk 1973.121.14
元 吳鎮 老松圖 軸 Wu Zhen, Chinese, 1280–1354 Crooked Pine China Hanging scroll dated 1335 Hanging scroll; ink on silk 1985.120.1
元 王冕 墨梅圖 軸 Wang Mian, Chinese, 1287–1359 Fragrant Snow at Broken Bridge China Hanging scroll Hanging scroll; ink on silk 1973.121.9
8 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
元 唐棣 摩詰詩意圖 軸 Tang Di, Chinese, ca. 1287–1355 Landscape after a Poem by Wang Wei China Hanging scroll dated 1323 Hanging scroll; ink and color on silk 1985.214.147
元 羅稚川 古木寒鴉圖 軸 Luo Zhichuan, Chinese, active ca. 1300–30 Old Trees, Pheasants, and Crows in Winter China Hanging scroll Hanging scroll; ink and color on silk 1973.121.6
明 傳謝環 杏園雅集圖 卷 Xie Huan, Chinese, 1377–1452 Elegant Gathering in the Apricot Garden China Handscroll ca. 1437 Handscroll; ink and color on silk 1989.141.3
元/明 佚名 竹鶴雙清圖 軸 Unidentified Artist Crane in a Bamboo Grove China Hanging scroll 14th–early 15th century Hanging scroll; ink and color on silk 1991.378
9 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
明 林良 二鷹圖 軸 Lin Liang, Chinese, ca. 1416–1480 Two Hawks in a Thicket China Hanging scroll 15th century Hanging scroll; ink and pale color on silk 1993.385
明 劉俊 納諫圖 軸 Liu Jun, Chinese, active ca. 1475–ca. 1505 Remonstrating with the Emperor China Hanging scroll Hanging scroll; ink and color on silk 2005.494.3
明 佚名 鳥販圖 軸 Unidentified Artist Bird Peddler China Hanging scroll late 15th–early 16th century Hanging scroll; ink and color on silk 1998.48
明 陳子和 古木酒仙圖 軸 Chen Zihe, Chinese, active late 15th–early 16th century Drunken Immortal beneath an Old Tree China Hanging scroll early 16th century Hanging scroll; ink on silk 2005.494.4
10 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
清 王原祁 輞川圖 卷 Wang Yuanqi, Chinese, 1642–1715 Wangchuan Villa China Handscroll dated 1711 Handscroll; ink and color on paper 1977.80
清 王翬等 康熙南巡圖，第三卷: 濟南至泰山 Wang Hui, Chinese, 1632–1717 The Kangxi Emperor's Southern Inspection Tour, Scroll Three: Ji'nan to Mount Tai China Handscroll datable to 1698 Handscroll; ink and color on silk 1979.5a–d
清 朱耷(八大山人) 魚石圖 軸 Bada Shanren (Zhu Da), Chinese, 1626–1705 Fish and Rocks China Hanging scroll dated 1699 Hanging scroll; ink on paper 1989.363.137
清 朱耷(八大山人) 蓮塘戲禽圖 卷 Bada Shanren (Zhu Da), Chinese, 1626–1705 Birds in a Lotus Pond China Handscroll ca. 1690 Handscroll; ink on satin 1989.363.135
清 朱耷 (八大山人) 二鷹圖 軸 Bada Shanren (Zhu Da), Chinese, 1626–1705 Two Eagles China Hanging scroll dated 1702 Hanging scroll; ink on paper 2014.721
11 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1 (10/31/2015-4/17/2016)
清 徐揚等 乾隆南巡圖, 第六卷﹕大運河至蘇 州 Xu Yang, Chinese, active ca. 1750–after 1776 The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi Suzhou) China Handscroll dated 1770 Handscroll; ink and color on silk 1988.350a–d
12 Rotation 2 二期: 5/7/2016–10/11/2016 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
北宋 傳屈鼎 夏山圖 卷 Qu Ding, Chinese, active ca. 1023–ca. 1056 Summer Mountains China Handscroll mid-11th century Handscroll; ink and color on silk 1973.120.1
北宋 郭熙 樹色平遠圖 卷 Guo Xi, Chinese, ca. 1000–ca. 1090 Old Trees, Level Distance China Handscroll ca. 1080 Handscroll; ink and color on silk 1981.276
北宋 徽宗 竹禽圖 卷 Emperor Huizong, Chinese, 1082–1135; r. 1100–25 Finches and Bamboo China Handscroll Handscroll; ink and color on silk 1981.278
北宋 黃庭堅 草書廉頗藺相如傳 卷 Huang Tingjian, Chinese, 1045–1105 Biographies of Lian Po and Lin Xiangru China Handscroll ca. 1095 Handscroll; ink on paper 1989.363.4
五代 傳董元 溪岸圖 軸 Dong Yuan, Chinese, active 930s–960s Riverbank China Hanging scroll Hanging scroll; ink and color on silk L.1997.24.1
1 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
宋 佚名 倣李成 寒林策驢圖 軸 Unidentified Artist Li Cheng, Chinese, 919–967 Travelers in a Wintry Forest ("Hanlin celü") China Hanging scroll early 12th century Hanging scroll; ink and color on silk 1972.121
北宋 米芾 草書吳江舟中詩 卷 Mi Fu, Chinese, 1052–1107 Poem Written in a Boat on the Wu River China Handscroll ca. 1100 Handscroll; ink on paper 1984.174
南宋 米友仁 雲山圖 卷 元 鮮于樞 題米友仁雲山圖 Mi Youren, Chinese, 1074–1151 Cloudy Mountains China Handscroll colophon dated to 1200 Handscroll; ink on paper 1973.121.1
南宋 傳李唐 晉文公復國圖 卷 Li Tang, Chinese, ca. 1070s–ca. 1150s Duke Wen of Jin Recovering His State China Handscroll datable to early 1140 Handscroll; ink and color on silk 1973.120.2
南宋 高宗 草書天山陰雨七絕詩 團扇 Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162 Quatrain on Heavenly Mountain China Fan mounted as an album leaf after 1162 Round fan mounted as album leaf; ink on silk 1989.363.6
2 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
南宋 楊皇后 楷書瀹雪凝酥七絕 團扇 Empress Yang Meizi, Chinese, 1162–1232 Quatrain on Yellow Roses China Fan mounted as an album leaf Fan mounted as an album leaf; ink on silk 1989.363.13
南宋 傳閻次于 松壑隱棲圖 團扇 Yan Ciyu, Chinese, act. ca. 1164–81 Yan Ciping, Chibese, active 12th century Hermitage by a Pine-covered Bluff China Fan mounted as an album leaf Fan mounted as an album leaf; ink and color on silk 1973.121.12a, b
南宋 梁楷 澤畔行吟圖 團扇 Liang Kai, Chinese, active first half of the 13th century Poet Strolling by a Marshy Bank China Fan mounted as an album leaf Fan mounted as an album leaf; ink on silk 1989.363.14
南宋 佚名 舊傳五代周文矩 琉璃堂人物圖 卷 Unidentified Artist Scholars of the Liuli Hall China Handscroll late 13th century Handscroll; ink and color on silk 1977.49
宋 傳趙克敻 藻魚圖 冊頁 Zhao Kexiong, Chinese, active early 12th century Fish at Play China Album leaf Album leaf; ink and color on silk 13.100.110
3 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
南宋 佚名 竹梅小禽圖 團扇 Unidentified Artist Sparrows, Plum Blossoms, and Bamboo China Fan mounted as an album leaf late 12th century Fan mounted as an album leaf; ink and color on silk 24.80.487
南宋 馬和之 詩經豳風圖 卷 Ma Hezhi, Chinese, ca. 1130–ca. 1170 Odes of the State of Bin China Handscroll Handscroll; ink, color, gold and silver on silk 1973.121.3
南宋 李結 西塞漁社圖 卷 Li Jie, Chinese, ca. 1124– after 1191 Fisherman's Lodge At Mount Xisai China Handscroll ca. 1170 Handscroll; ink and color on silk 1989.363.10a, b
南宋 傳劉松年 倣高克明 溪山雪意圖 卷 Liu Songnian, Chinese, active ca 1175–after 1195 Streams and Mountains Under Fresh Snow China Handscroll Handscroll; ink and color on silk 1984.274
南宋 佚名 寒江釣雪圖 軸 Unidentified Artist Fishing on a Snowy River China Hanging scroll Hanging scroll; ink and color on silk L.1980.74
4 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
南宋 金處士 十王圖 軸（之二） Jin Chushi, Chinese, active late 12th century Ten Kings of Hell China Hanging scroll before 1195 One of five of a set of ten hanging scrolls; ink and color on silk 30.76.291
南宋 金處士 十王圖 軸（之五） Jin Chushi, Chinese, active late 12th century Ten Kings of Hell China Hanging scroll before 1195 One of five of a set of ten hanging scrolls; ink and color on silk 30.76.294
南宋 佚名 阿彌陀如來圖 軸 Unidentified Artist Buddha Amitabha Descending from His Pure Land China Hanging scroll 13th century Hanging scroll; ink and color on silk 1980.275
北宋 維摩詰經 卷 Unidentified Artist Vimalakirti Sutra China Handscroll dated January 13, 1119 Handscroll; gold and silver on purple silk 47.18.2
南宋/元 顏庚 鍾馗嫁妹圖 卷 Yan Geng, active late 13th century The Demon Queller Zhong Kui Giving His Sister Away in Marriage China Handscroll Handscroll; ink on silk 1990.134
5 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
元 錢選 王羲之觀鵝圖 卷 Qian Xuan, Chinese, ca. 1235–before 1307 Wang Xizhi Watching Geese China Handscroll ca. 1295 Handscroll; ink, color, and gold on paper 1973.120.6
元 趙孟頫 雙松平遠圖 卷 Zhao Mengfu, Chinese, 1254–1322 Twin Pines, Level Distance China Handscroll ca. 1310 Handscroll; ink on paper 1973.120.5
元 趙孟頫 行書右軍四事 卷 Zhao Mengfu, Chinese, 1254–1322 Four Anecdotes from the Life of Wang Xizhi China Handscroll datable to ca. 1310 Handscroll; ink on paper 1989.363.30
元 王振鵬 維摩不二圖 卷 Wang Zhenpeng, Chinese, active ca. 1275–1330 Vimalakirti and the Doctrine of Nonduality China Handscroll dated 1308 Handscroll; ink on silk 1980.276
元 唐棣 滕王閣圖 卷 Tang Di, Chinese, ca. 1287–1355 The Pavilion of Prince Teng China Handscroll dated 1352 Handscroll; ink on paper 1989.363.36
6 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
元 夏永 黃樓圖 冊頁 Xia Yong, Chinese, active mid-14th century The Yellow Pavilion China Album leaf ca. 1350 Album leaf; ink on silk 1991.438.3
元 鮮于樞 草書石鼓歌 卷 Xianyu Shu, Chinese, 1246–1302 Song of the Stone Drums China Handscroll dated 1301 Handscroll; ink on paper 1989.363.29
元 姚彥卿 (廷美) 雪山行旅圖 軸 Yao Yanqing (Tingmei), Chinese, ca. 1300–after 1360 Traveling through Snow-Covered Mountains China Hanging scroll Hanging scroll; ink on silk 2011.573
元 張羽 松軒春靄圖 軸 Zhang Yu, Chinese, 1333–1385 Spring Clouds at the Pine Studio China Hanging scroll dated 1366 Hanging scroll; ink and color on paper 1980.426.3
元 趙原 (元) 晴川送客圖 軸 Zhao Yuan, Chinese, active ca. 1350–75 Farewell by a Stream on a Clear Day China Hanging scroll early 1370s Hanging scroll; ink on paper 1973.121.8
7 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
元 吳鎮 蘆灘釣艇圖 卷 Wu Zhen, Chinese, 1280–1354 Fisherman China Handscroll ca. 1350 Handscroll; ink on paper 1989.363.33
元/明 宋克 草書負郭堂成七律詩 卷 Song Ke, Chinese, 1327–1387 Poem on Retirement China Handscroll Handscroll; ink on gold-flecked paper 1989.363.40
元 趙原 (元) 倣燕文貴范寬山水圖 卷 Zhao Yuan, Chinese, active ca. 1350–75 Landscape in the Style of Yan Wengui and Fan Kuan China Handscroll Handscroll; ink on paper 1981.285.15
元/明 沈巽 竹石圖 卷 Shen Xun, (active ca. 1370–1400) Bamboo Grove China Handscroll Handscroll; ink and color on paper 1981.285.16
元 倪瓚 江渚風林圖 軸 Ni Zan, Chinese, 1306–1374 Wind among the Trees on the Riverbank China Hanging scroll dated 1363 Hanging scroll; ink on paper 1989.363.39
8 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
元 倪瓚 虞山林壑圖 軸 Ni Zan, Chinese, 1306–1374 Woods and Valleys of Mount Yu China Hanging scroll dated 1372 Hanging scroll; ink on paper 1973.120.8
元 王蒙 素庵圖 軸 Wang Meng, Chinese, ca. 1308–1385 The Simple Retreat China Hanging scroll ca. 1370 Hanging scroll; ink and color on paper 2012.526.2
元 鄧宇 竹石圖 軸 Deng Yu, Chinese, ca. 1300–after 1378 Bamboo and Rock China Hanging scroll ca. 1360–67 Hanging scroll; ink on paper 1991.438.1
元 李衎 竹石圖 軸二幅 Li Kan, Chinese, 1245–1320 Bamboo and Rocks China Hanging scrolls dated 1318 Pair of hanging scrolls; ink and color on silk 1973.120.7a, b
9 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
明 沈周 溪山秋色圖 卷 Shen Zhou, Chinese, 1427–1509 Autumn Colors among Streams and Mountains China Handscroll ca. 1490–1500 Handscroll; ink on paper 1979.75.1
元/明 吳伯理 龍松圖 軸 Wu Boli, Chinese, active late 14th–early 15th century Dragon Pine China Hanging scroll ca. 1400 Hanging scroll; ink on paper 1984.475.3
明 夏昶 清風高節圖 軸 Xia Chang, Chinese, 1388–1470 Bamboo in Wind China Hanging scroll ca. 1460 Hanging scroll; ink on paper 1989.235.1
明 戴進 雪歸圖 軸 Dai Jin, Chinese, 1388–1462 Returning Home Through the Snow China Hanging scroll ca. 1455 Hanging scroll; ink and color on silk 1992.132
10 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
明 鍾禮 觀瀑圖 軸 Zhong Li, Chinese, active ca. 1480–1500 Scholar Looking at a Waterfall China Hanging scroll late 15th century Hanging scroll; ink and color on silk 1991.438.4
明 伏生授經圖 軸 Du Jin, Chinese, active ca. 1465–1509 The Scholar Fu Sheng Transmitting the Book of Documents China Hanging scroll 15th–mid-16th century Hanging scroll; ink and color on silk 1991.117.2
明 文徵明 樓居圖 軸 Wen Zhengming, Chinese, 1470–1559 Living Aloft: Master Liu's Retreat China Hanging scroll dated 1543 Hanging scroll; ink and color on paper L.2001.85.2
明 陸治 種菊圖 軸 Lu Zhi, Chinese, 1495–1576 Planting Chrysanthemums China Hanging scroll mid-16th century Hanging scroll; ink and pale color on paper 1986.266.3
11 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
明 董其昌 溪山樾館圖 軸 紙本 Dong Qichang, Chinese, 1555–1636 Shaded Dwellings among Streams and Mountains China Hanging scroll ca. 1622–25 Hanging scroll; ink on paper 1979.75.2
清 王鑑 仿古山水圖 冊 紙本 Wang Jian, Chinese, 1609–77 or 1688 Wang Shimin, Chinese, 1592–1680 Landscapes in the styles of old masters China Album dated 1668 Album of ten paintings; ink and color on paper 1979.439a–o
清 吳歷 墨井草堂消夏圖 卷 Wu Li, Chinese, 1632–1718 Whiling Away the Summer China Handscroll dated 1679 Handscroll; ink on paper 1977.81
清 徐揚等 乾隆南巡圖, 第六卷﹕大運河至蘇 州 Xu Yang, Chinese, active ca. 1750–after 1776 The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi Suzhou) China Handscroll dated 1770 Handscroll; ink and color on silk 1988.350a–d
清 石濤 (朱若極) 十六羅漢圖 卷 Shitao (Zhu Ruoji), Chinese, 1642–1707 The Sixteen Luohans China Handscroll dated 1667 Handscroll; ink on paper 1985.227.1
12 MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 2 (5/7/2016-10/11/2016)
13