ArtsInfo-0121

展覽：

台灣
1. 故宮博物院展覽
中港澳:
2. 深圳博物館
3. 香港中文大學
4. 遼寧省博物館
5. 上海博物館
日本
6. 東京国立博物館
美國
7. The Asia Society Museum, NYC
8. Cantor Arts Center at Stanford University
9. Rubin Museum, NYC
10. Arthur M. Sackler gallery, Washington D.C.
11. China Institute, NYC

台灣
1.故宮博物院展覽：
http://www.npm.gov.tw/exhbition/object.htm

304邦國重器－中國古代銅器菁華Highlights of the Bronze Collection
306明清雕刻Carvings from the Ming and Ch’ing Dynasties
308皇帝的印章The Seal of the Emperor
310右半松花石硯特展A Special Exhibition of Sung-hua Inkstones
310左半玉器精品展Masterpieces of Jade
312皇室珍玩Imperial Delights: Prized Possessions from the Ch’ing Imperial Collection
204 圖話此人間—院藏圖籍精選展
206知道了—硃批奏摺展
Between the Emperor and His Officials: Palace Memorials from the Ch’ing Court
208故宮受贈書畫展（2005/1/1～3/25）Painting and Calligraphy Donated to the National Palace Museum（1/1～3/25）
圖書文獻大樓一樓特展室: 比上帝還精巧?瓷器、玉器、象牙、雕刻與多寶格特展
106 歷代佛教雕塑藝術展

中港澳
2. Art Museum, The Chinese University of Hong Kong
Noble Riders from Paines and Desers: The Artistic Legacy of the Qidan. 25 October 2004 - 20 February 2005.
http://www.cuhk.edu.hk/ics/amm/

3．深圳博物館
南京博物院藏明清繪畫精品展
2005年1月12日至2月28日

4. 遼寧省博物館
《清宮散佚書畫國寶展》 11/12—2005/二月初

5. 上海博物館
周秦漢唐文明大展
2004年12月29日至2005年2月15日
http://www.shanghaimuseum.net:82/gate/big5/www.shanghaimuseum.net/cn/index.asp

日本
6.東京国立博物館の展示http://www.tnm.jp/
■中国染織■11月9日(火)?2005年1月30日(日)　東洋館第5室
■中国書跡■明時代書法11月30日(火)--1月30日(日)　東洋館第8室
草書前後赤壁賦　祝允明筆　明時代 正德16年(1521)　高島菊次郎氏寄贈
行書遊天池詩　文徵明筆　明時代 嘉靖17年(1538) 　
草書七言律詩軸　黃道周筆　明時代 17c　高島菊次郎氏寄贈　
■中国雕刻■
2004/10/19～ 2005/4/3

美國
7. The Asia Society Museum, NY
Asian Games: The Art of Contest.
October 14, 2004- January 16, 2005
http://www.asiasociety.org/arts/asiangames/index.html

8. Cantor Arts Center at Stanford University
"On the Edge: Contemporary Chinese Artists Encounter the West"
Premieres January 26 - May 1, 2005 at Stanford University
A major exhibition presenting works by 12 noted, contemporary Chinese artists, organized by the Cantor Arts Center at Stanford University, opens January at Stanford. The exhibition will then travel to other U.S. venues.
Artists in Exhibition
Living both in and outside their homeland: Hong Hao, Huang Yong Ping, Qiu Zhijie, Sui Jianguo, Wang Du, Xing Danwen, Xu Bing, Yan Lei, Yin Xiuzhen, Zhang Hongtu, Zhang Huan, and Zhou Tiehai.
Visiting Artists
Artists Huang Yong Ping, Yan Lei, Yang Jiechang, Yin Xiuzhen, and Zhan Wang will visit from Paris and Beijing for one- and two-week residencies to create new works for the show.
Venues
1/26/05 - 5/1/05 Cantor Arts Center at Stanford University, California
2/13/06 - 6/3/06 Davis Museum and Cultural Center, Wellesley College, Massachusetts
7/1/06 - 9/24/06 Indianapolis Museum of Art, Indiana (to be confirmed)

9. Rubin Museum of Art (New) http://www.rmanyc.org/Exhibitions/inaugural.cfm
150 West 17th Street, New York, NY 10011212-620-5000
RMA is located in the Chelsea district of New York City at the corner of 17th street and 7th Avenue. The Rubin Museum of Art is New York's newest museum. Opened on October 2nd, 2004, it is the first museum in the Western World dedicated to the art of the Himalayas and surrounding regions.Hours: Monday: Closed/ Tuesday: 11 am - 7 pm/ Wednesday:11 am - 5 pm/ Thursday:11 am - 9 pm (close on Thanksgiving) / Friday:11 am - 9 pm/ Saturday:11 am - 7 pm/ Sunday:11 am - 5 pmMost public holidays: 11:00 am to 5:00 pm Closed: Thanksgiving Day, Christmas Day, and New Year's Day.Admission: Adults: $7.00. Seniors, students, neighbors, artists: $5

10. IRAQ AND CHINA: CERAMICS, TRADE AND INNOVATION
December 4, 2004 - April 24, 2005
Arthur M. Sackler Gallery, Washington D.C.
http://www.asia.si.edu/exhibitions/current/IraqandChina.htm

This exhibition focuses on revolutionary and enduring changes that took place in Iraqi ceramics during the 9th century as the humble character of Islamic pottery responded to a wave of luxury Chinese goods, imported by Arab and Persian merchants. During this period, Iraq became a center for Islamic ceramic production as new technologies transformed common earthenware into a vehicle for complex multi-colored designs. Chinese ceramics were admired in Iraq for their shiny white surfaces and hard body. As neither the essential raw materials nor the appropriate firing technology were locally available, Islamic potters therefore created their own versions by covering finely potted yellow clay hemispherical bowls with a glaze that turned opaque after firing, creating ceramics that were described as "pearl cups like the moon." This technique offered the potters an ideal canvas for bold decorative designs, first in cobalt blue and then with "luster"; mixtures of copper and silver that were painted onto the glaze then fixed in a second firing. Following the gradual disintegration of the Abbasid Empire after the 10th century, migrating Iraqi potters transmitted these techniques to Egypt and Iran from whence they traveled to Europe, giving rise to the great "Majolica" tradition in medieval Spain and Renaissance Italy. In China, 14th-century experiments with cobalt blue from the Islamic world led to Yuan and Ming blue-and-white.

11. Providing for the Afterlife: "Brilliant Artifacts" from Shandong
China Institute, NYC
4 February- 4 June 2005

會議
1. 1/28 Displacements: Transcultural Encounters in Contemporary Chinese Art
2. 3/30-4/1, 2005 World Fair symposium
3 3/31—4/3, 2005 AAS 2005
4. 4/30—5/1, 2005 “Recarving China’s Past: The Art, Archaeology, and Architecture of the “Wu Family Shrines”
5. 6/2005 The Art of the Book in China

1. "Displacements: Transcultural Encounters in Contemporary Chinese Art"
Stanford University, 28 January 2005
Presented by the Cantor Arts Center at Stanford University in conjunction with the exhibition On the Edge: Contemporary Chinese Artists Encounter the West (26 January - 1 May 2005). For directions and other information, call (650) 725-3155, e-mail klolson@stanford.edu, or visit www.stanford.edu/dept/ccva.
Program
Remarks by Michael Sullivan, emeritus professor, Oxford University
Panel 1: Issues in Contemporary Chinese Art
Chair and discussant: Richard Vinograd (Stanford University)
- Gao Minglu (SUNY Buffalo), "Ritual Body: Chinese Performance Art in the Last Two Decades"
- Yu Yeon Kim (independent curator), "Corporeal/Technoreal: Redefining Performance Art and Cultural Identity in an Era of Hi-Tech Globalism"
- Shen Kuiyi (University of California, San Diego), "Ink Painting in the Contemporary Chinese Art World"
Panel 2: Exhibiting Contemporary Chinese Art
Chair and discussant: Francesca Dal Lago (McGill University)
- Zheng Shengtian (publisher and curator, Vancouver), "Reflections on the First Chinese Art Seminar/Workshop, San Diego 1991"
- John Clark (University of Sydney), "Between the Worlds: Chinese Art at Biennales Since 1993"
- Pi Li (Central Academy of Fine Arts, Beijing), "Between Scylla and Charybdis: The New Context of Chinese Contemporary Art and Its Creation since 2000"
Panel 3: Positioning Contemporary Chinese Art
Chair and discussant: Britta Erickson (independent scholar and curator)
- Zhou Tiehai (artist, Shanghai), "How Western People Support/Influence Contemporary Chinese Art"
- Uli Sigg (collector, Mauensee, Switzerland), "Transcultural Encounter in the Contemporary Art Market"
- Jane Debevoise (independent scholar, Hong Kong), "Chinese Contemporary Art: At the Margin of the American Mainstream"

2. 3/30—4/1 World's Fair Symposium
An Organization of American Historians (OAH ) Pre-conference, San Francisco, CA 30 March 30 - 1 April 2005
Sponsored by the Donald G. Larson Collection on International Expositions and World's Fairs, 1851-1940, Special Collections Library, California State University, Fresno
International Expositions: Microcosms of Ethnic and Cultural Stereotypes - Mae Ngai (University of Chicago), "Chinese American Culture Brokers and the World’s Fairs, 1893-1915"
- Abigail Markwyn (University of Wisconsin-Madison), "Inviting the Alien: Images and Reality of China and Japan at the Panama-Pacific International Exposition"

3. Association for Asian Studies 2005 Annual Meeting
Chicago, IL31 March - 3 April 2005
The Program Committee has prepared the following list of panels and roundtables for the 2005 Annual Meeting in Chicago. Titles may change slightly, but the hourly schedule will remain constant. Organizers are cited with the panels or roundtables they have assembled.
The printed annual meeting Program—which is scheduled to reach members in early March—will cite the chairpersons and discussants, along with a listing of participants and their paper titles (all participants who register by the December 3, 2004 deadline).

The program schedule is as follows:
THURSDAY, March 31, 2005: Panels 7:00 p.m.–9:00 p.m.
FRIDAY: Panels 8:30 a.m.–10:30 a.m.; 10:45 a.m.–12:45 p.m.; 1:00 p.m.–3:00 p.m.;3:15 p.m.–5:15 p.m.;
Presidential Address and Awards Ceremony, 5:30 p.m.
SATURDAY: Panels 8:30 a.m.–10:30 a.m.; 10:45 a.m.–12:45 p.m.; 2:45 p.m.–4:45 p.m.; 5:00 p.m.–7:00 p.m.
SUNDAY: Panels 8:30 a.m.–10:30 a.m.; 10:45 a.m.–12:45 p.m.

[Panels relating to Chinese and/or Japanese visual culture listed below.]
19. Cultural Production in the Era of Globalization (Tonglin Lu, University of Montreal)
22. Printed Matter: Buddhist Printing by China, Xi Xia, and Korea, 11th–17th Centuries (Shih-shan Susan Huang, University of Washington)
35. The Culture of Leisure in Medieval China: Sponsored by the Early Medieval China Group (Wendy Swartz, Columbia University)
53. Regions and Interactions: Different Levels of Inter-relationships amongst the Bronze Cultures of China (Ying Wang, University of Wisconsin, Milwaukee)
54. Roundtable: A Reign of Great Significance: Recasting Wanli and His Era from an Interdisciplinary Perspective: Sponsored by the Society for Ming Studies (Kenneth M. Swope, Ball State University)
57. Imperial Forces, Local Voices: The Symbolic and Social Significance of Architecture on the Chinese Mainland (Tracy G. Miller, Vanderbilt University)
73. Formal Contents: High Cultural Borrowings in and of Popular Chinese Cinemas (Jason C. McGrath, University of Minnesota)
77. Modern Institutions of Art in Republican China (Julia F. Andrews, Ohio State University)
91. The Body and Social Identity in Ming China (Yonglin Jiang, Oklahoma State University)
93. China Through Its Art: Collecting and Scholarship in Early 20th-Century U.S. and Britain (Katharine Burnett, University of California, Davis)
96. New Insights from the Yellow Earth: Re-interpreting Early China through Recent Archaeological Discoveries: Sponsored by the Society for the Study of Early China (Robin D. S. Yates, McGill University)
98. Reconfiguring Material Objects and Structures in East Asian Buddhism (Sonya Lee, University of Southern California)
114. Medium and Materiality in Pre-modern China (Sophie Volpp, University of California, Berkeley)
129. Reading Tombs: A Liao-dynasty Family Cemetary at Xuanhua (Hung Wu, University of Chicago)
166. Sculpting the Power of the Image: Visual Representation of Prewar Japan (Rei Okamoto, Northeastern University)
191. The Meanings of Nonsense: Imagining Linguistic and Social Disorder in Chinese Literary and Visual Culture (Paize Keulemans, Columbia University)
213. Printing and Religion in Late Imperial China (Elena Valussi, Columbia College, Chicago)

4. P. Y. and Kinmay W. Tang Center for East Asian Art, Princeton UniversityRecarving China’s Past: The Art, Archaeology, and Architecture of the “Wu Family Shrines” Saturday and Sunday, 30 April-1 May 2005 The Princeton University Art Museum will hold a two-day international symposium that will explore the architecture, artistic illustration, and material culture of the Han dynasty (206 BCE-CE 220) of China. Entitled Recarving China’s Past: The Art, Archaeology, and Architecture of the “Wu Family Shrines,” the symposium, which accompanies a major exhibition and an interdisciplinary research project of the same name, will focus on a set of pictorial wall carvings that brings back to life the art, social conditions, and Confucian ideology of the Eastern Han period. These stones are commonly recognized as mid-second-century funerary structures belonging to the Wu family cemetery of the Han dynasty.Scheduled for April 30 and May 1, 2005, the symposium will bring together fifteen scholars from various disciplines and will raise significant questions about how the Wu family shrine has been identified and understood by scholars in the past and how our understanding of Han art, architecture, history, and culture may require reevaluation.

5. The Art of the Book in China
Percival David Foundation of Chinese Art 2005 ColloquyLondon, UKJune 2005

網路資源
1. 故宮博物院圖書文獻處資料庫
http://www.npm.gov.tw/tts/npmmeta/dblist.htm
（1） 宮中檔及軍機處檔摺件 http://www.npm.gov.tw/ttscgi/ttswebnpm?@0:0:1:npmmeta::/tts/npmmeta/dblist.htm@@0.8342614985721166（2） 清代文獻檔案總目http://www.npm.gov.tw/ttscgi/ttswebfile?@0:0:1:npmmetaai::/tts/npmmeta/dblist.htm@@0.8444977317181843（3） 善本舊籍總目http://www.npm.gov.tw/ttscgi/ttswebrb?@0:0:1:rbmeta::/tts/npmmeta/dblist.htm@@0.5890768735936238
（4） 故宮博物院藏佛經附圖索引http://www.npm.gov.tw/ttscgi/ttsweb?@0:0:1:buddha::/tts/npmmeta/dblist.htm@@0.4513846736217087
（5） 清代檔案人名權威資料查http://www.npm.gov.tw/ttscgi/ttsweb?@0:0:1:mctauac::/tts/npmmeta/dblist.htm@@0.7814801751240394

2. The John and Susan Huntington Archive of Buddhist and related Art
http://kaladarshan.arts.ohio-state.edu/

3. Himalayan Art (English)
http://www.tibetart.com/
for Tibetan art

部分內容取自NixiCura之Chinese/JapaneseWWWVL，
internet guide for Chinese Studies, 以及故宮博物院藝術史討論區。
請參見http://www.nyu.edu/gsas/dept/fineart/html/chinese/index.html, http://www.sino.uni-heidelberg.de/igcs/, and http://arthf.npm.gov.tw/art/aboutus/aboutus.asp