The transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13) Faculty of Fine Arts, University of Lisbon, PORTUGAL, Apr 4–05, 2013 Deadline: Jul 31, 2012 Rui Oliveira Lopes, Faculty of Fine Arts, University of Lisbon 'Face to Face. The transcendence of the Arts in China and Beyond' Organizers: Fernando António Baptista Pereira Associated Professor, Faculty of Fine Arts, University of Lisbon Rui Oliveira Lopes Postdoctoral Researcher, Faculty of Fine Arts, University of Lisbon Conference Language English / Portuguese Conference Description Face to Face. The Transcendence of the Arts in China and Beyond is a conference that will bring a wide range of new perspectives on the artistic styles changes of Chinese Arts, resulting from the artistic exchange and mutual interactions with the arts, styles and techniques of other cultures in China itself and beyond its cultural frontiers. Given to the long artistic traditions and the multicultural sediment of Chinese arts it is critical to present a selection of comparative perspectives on the legacy of other artistic traditions in the arts of China, from the Bronze Age to Modern-day, crossing through ceramics, metalwork, paint- ing, sculpture, carving, prints, textiles, drama (theatre, opera, shadow puppetry and cinema), and performing arts (music and dance). Our goals for the conference are to raise awareness of the artistic exchange and mutual influ- ences between the Han Chinese arts and the arts from different cultural backgrounds in China itself, as well as beyond its geographical and cultural boundaries. We also aim to go through the issues on the construction of artistic identity and the balance between permeability and hege- mony, tradition and innovation, convenience and misinterpretation. In addition, we also intend to publish a book, which will include the extended versions of the papers presented during the confer- ence as well as other papers submitted by other distinguished scholars. The conference, as well as the book, will be organized chronologically in four parts spanning a variety of perspectives on the Chinese arts in dialogue with other artistic traditions, including but not limited to: 1/3 ArtHist.net Artistic identities in contrast. The arts along the Silk Road and the South China Sea Routes (Pre- Imperial to Tang dynasty) Early Sino-Western cultural contacts and artistic exchange during the late Bronze Age, focusing ceramic and metalwork techniques and decorations from the crossroads of Central Asian cul- tures and regional cultures of the Yellow River Valley, through the Gansu Corridor; Exotic goods from the Silk Road and their impact in Chinese artistic traditions; The artistic impact of the East China Sea Route and the transfer of artistic knowledge to Korea and Japan; Religious imagery introduced into China via Silk Road (Buddhism, Zoroastrianism, Manicheism, Nestorianism and Islam) and the confluence with local religious arts (Dunhuang caves and Yungang grottoes); Budd- hist art and Greco-Bactrian heritage in Chinese Buddhist art / Central Asian (Songdian, Bactrian) motifs in Chinese ceramics; Exchange of Buddhist Art in the South Sea; Princely gifts and royal treasures as a demonstration of power and sovereignty between nations. From the artistic sophistication of the Song to the legacy of the Mongol invasion (Song and Yuan dynasties) From the regional styles to the unity fundamentals of art; The aesthetic sophistication of ceram- ics and the variety of classic wares as a result of international commerce and the refined taste of the Imperial court; Art the ethnicity in the arts of the Yuan dynasty; Chinese painting, Zen (Chan) Buddhism and the Zen (Chan) Buddhist painting of Japan; Artistic exchange between China, Korea and Japan; Distinctive styles and motifs of Chinese textiles in Southeast Asia and the exchange with the Liao, the Xi Xia, the Tibetan Plateau and the Himalayas; The Chinese arts and the arts of the conquers (Liao, Jin and Yuan dynasties); Artistic relations between China and Islam- ic world. The artistic exchange between China and Europe in Late imperial China (Ming and Qing dynasties) The impact of Chinese porcelain in the world; The legacy of the European perspective and oil painting in China; European artists in China and the Chinese arts in Europe; Enamel and Cloisonné; The influence of copperplate prints in the arts of China; China trade; Chinoiserie and Orientalism in European decorative arts. China Today. Modern and Contemporary Chinese Art in a global context (Post-Imperial period) Between the traditions and the new trends of Chinese art (Shanghai School and the New Culture movement); Chinese art and artists in the Western World during the 20th and the 21th centuries; The influence of Chinese art and aesthetics in Western art; Art and Socialism; The Chinese visual arts, media and performance in a global context; Chinese contemporary art and the art market. Please send abstracts of proposed papers for 20-minute presentation and / or for the edited book (paper title and author information must be sent in a separate file) to [email protected] by 31 July 2012. The abstracts should not exceed 500 words and will be analyzed by a committee of experts under double-blind review system. Papers accepted for the conference will be published in a book. The committee may accept proposed papers only for the edited book. The organization will notify applicants of its final decision by 3rd of September 2012. 2/3 ArtHist.net Final papers for the book should be submitted by 31 December 2012, following the Harvard Sys- tem of Referencing. Paper length should be between 5000-10000 words, including abstract, refer- ences, tables and figures. Book release date: April 4, 2013 For further information please send an email to Rui Oliveira Lopes ([email protected] ) Rui Oliveira Lopes Tel: 00 351 96 261 73 10 mail: [email protected] website: http://lisboa.academia.edu/RuiOliveiraLopes Reference: CFP: The transcendence of the Arts in China and Beyond (Lissabon, 4-5 Apr 13). In: ArtHist.net, Jun 21, 2012 (accessed Sep 23, 2021), <https://arthist.net/archive/3518>. 3/3.