藝術/文化/史ArtsInfo

01/27/2012 1. Happy Chinese New Year!!2. 感謝弓野隆之、王靜靈、Uta Rahman-Steinert、盧慧紋、板倉聖哲、黃士珊所提供的資訊。

部分訊息轉貼自 Nixi Cura 維護之 Arts of China Consortium 網站。3. 目前原則上固定於每周五寄發，包括展覽、演講、會議議程與徵文、網路資源、徵人啟事等

訊息，歡迎大家多多貢獻資訊。4. 若有與藝術史或文化史相關的研究、演講、展覽、或會議之訊息，不論來自何地，都歡迎提

供，我會將之轉給大家。雖然未必能與會，分散於天涯海角的我們卻可對各地情況有所瞭解。

5. 最新訊息以紅色標示，內容包括中(Big5)、英、日文(IME)碼。6. 本期更新: 展覽、演講、研討會。7. 如有其他同好對此電子報有興趣，請告知電子郵件地址，我將加入寄送名單中。若不願收

到，也請告知，以方便作業。展覽：■ 台灣1. 國立故宮博物院2. 國立臺灣美術館3. 世界宗教博物館■ 亞洲1. 香港藝術館2. 澳門藝術博物館3. 中國故宮博物院4. 京都國立博物館5. 大和文華館6. 大阪美術館7. 東京國立博物館8. 愛知県陶磁資料館■ 歐美1. Freer Gallery of Art2. The Metropolitan Museum of Art3. Asian Art Museum, National Museums in Berlin4. Musée Guimet

台灣1. 故宮博物院展覽：

http://www.npm.gov.tw/exhbition/object.htm1）「得佳趣－乾隆皇帝的陶瓷品味」特展

展期：2011 年 11 月 1 日 ~ 2012 年 9 月 30 日陳列室：203

「得佳趣」為乾隆皇帝鑑賞璽印，其印文的意涵為從鑑賞文物中感受美好的視覺經驗與樂趣清高宗乾隆皇帝生於 1711 年、卒於 1799 年，在位六十年（1736-1795）。退位之後又當了三年的太上皇帝，仍然掌握政權。是長壽且在位時間長的皇帝，因此有十八世紀皇帝的稱號。在位時，曾經親自考訂文物，投入大量人力、物力，建置清宮典藏；故也有人把他看成是首席博物館館員。特別是分別收藏於國立故宮博物院、北京故宮博物院和瀋陽故宮、熱河行宮，與南京博物院中的傳世藏品，因多數皆可追溯出乾隆皇帝親手典藏的痕跡，而明顯地反映出他鑑賞文物的經過。 這個展覽就是透過有跡可循的鑑賞印記，展出本院典藏鐫刻乾隆御製詩的陶瓷，和能與陶瓷圖冊對照的作品。藉由乾隆皇帝御覽陶瓷的軌跡，瞭解他的鑑賞品味。整個展覽以乾隆皇帝的陶瓷鑑賞觀做為主軸，並且依照他御覽之際所規範出的兩種不同整理方式，將展覽分成兩個單元。第一單元「以詩為記」，主要展出本院所藏刻詩陶瓷；第二單元「再現品味」，展出陶瓷圖冊中所畫的瓷器。 「以詩為記」單元中，因御製詩旨在傳達乾隆皇帝對陶瓷的歷史知識、鑑賞觀，以及寓意其中的處世與為君之道。這些他所觀察到的表象特徵與他所理解的窯口，都體現出他對於不同屬性陶瓷的觀感。以今天的陶瓷史視野來看，經過乾隆皇帝御覽鑑賞刻有御製詩的陶瓷，其窯口涵蓋定窯、汝窯、官窯、哥窯、鈞窯和明朝宣德官窯等製品，明顯流露出他降旨鐫刻御製詩，以及對於名窯作品的選擇，深受晚明陶瓷鑑賞觀所影響。 同時也因詩中屬意的多為北宋汝窯、南宋官窯和南宋官窯系列作品，故詩中有對於宋朝宮廷用瓷的歌詠，有南北政權嬗遞的自我警惕與反省思維，也有一再強調鑑賞陶瓷決非玩物喪志；而乾隆皇帝探索官窯脈絡的過程中，除了將北宋汝窯當作理想的官窯典範外，也一路上溯至舜做陶於河濱的故事，意圖透過河濱遺範連結以德治理天下的情操，表達出鑑賞陶瓷，實有效法聖人楷模的深遠意義。 展覽第二單元「再現品味」，因清宮留存的陶瓷圖冊，是乾隆皇帝降旨繪製，故也能視為鑑賞記號，印證畫中瓷器經過乾隆皇帝御覽觀看，以及鑑賞的看法。 總之，藉由具體的鑑賞印記，可以瞭解乾隆皇帝把陶瓷當作宣傳個人藝術品味和施政理念的媒介，其最大目的應該是想要藉此粉飾搜求藏品的舉動，以建立個人的聖王形象。

2）妙奪化機－呂紀繪畫展 展期：2012/01/10 ~ 2012/03/25 陳列室：212呂紀，字廷振，號樂愚，亦作樂漁，浙江寧波人，是明代中葉著名的宮廷畫家。他的

生平事蹟不詳，僅從相關人士的傳記和在宮中職位的升遷推斷可能生於明宣宗宣德四年

（1429），約卒於孝宗弘治十八年（1505）。憲宗成化（1465-1487）晚期已入宮，孝宗弘治（1488-1505）間值仁智殿，官至錦衣衛指揮，十分受到賞識，曾因病受到帝王的持續關切問候，而自言：「渥恩難勝，吾其死矣。」；詩人杭淮（1462-1538）在《雙溪集》＜題杏花圖＞詩也有「近時呂紀畫最好」之句。 　 根據歷史記載呂紀的繪畫初學明初重要的 宮廷花鳥畫家邊文進（約 1356-約1428），並曾於同鄉皇家相士袁忠徹（1376-1458）家中臨賞唐宋名蹟，在宮中也向林良（約 1424-1500 之後）學習，終發展出結合工筆與寫意，富麗和渾樸的自我風格。他擅於情境的表現，用筆以中鋒為主，圓挺有力；色澤鮮明亮麗，卻不失溫潤沈厚。 呂紀任職宮中，奉召作畫，為了應付宮中大量畫作的需求，可能成立工作坊，由助手協助完成應制之作。而作為受帝王喜愛的宮廷花鳥畫家，他的作品也成為學習的對象，不但影響明、清時期的花鳥畫，甚至及於日本。傳世作品中，有部份是他與其他宮廷畫家的合作畫，也有許多是借用其名，或偽仿之作。 仿效呂紀的作品，常以雁鴨、鷺鷥搭配芙蓉、柳樹及蘆葦為題材，畫風或近於邊文進的設色工筆，或近於林良的水墨寫意，呈現呂紀作品常見的煙嵐瀰漫或清新明麗的氛圍。本次展覽除了展出呂紀的花鳥代表作外，也選展數幅仿作，用以呈現呂紀的藝術及其影響。

3）典藏新紀元－歷年入藏書畫精品展 展期：2012/01/20 ~ 2012/04/23 陳列室：105, 107

本院所藏書畫，承自清代內府，為歷代宮廷所累積的精品，典藏豐贍，質量精美。民國三十八年（1949）故宮文物隨國民政府遷臺之後，持續擴充典藏，積極購藏書畫文物，並且接受社會各界賢達、藏家及機關團體之捐贈，迄今受贈藏品已近二千五百件，購藏作品也已逾一千九百件。

新添藏品拓展了本院原有收藏範圍，其中有散佚民間的清宮舊藏；也有院藏原本較為匱乏的明末遺民作品；更有本院一直以來極欲擴充的十九世紀以來的書畫作品，除了有多元風貌的清末民初名家佳作，也包含遷臺以來重要書畫家的諸多精品。這些各界所捐贈的書畫，延展了本院藏品的時間縱軸，加上內容豐富且多元，充分反映出歷史演變的軌跡，為國立故宮博物院之典藏，開創了一個新紀元。

博物館豐富的收藏，遠非一日之功。有感於社會各界熱心人士慷慨捐贈，近年來於本院書畫展區開闢專室，輪流展出受贈、寄存的新典藏。本次「典藏新紀元－歷年入藏書畫精品展」，精選歷年入藏書畫精品，除了向許多不存於私的捐贈者致敬外，也展示本院多年來積極徵集藏品的成果，更企望各界人士共襄盛舉，使本院成為全民共享的博物館。

4）丁觀鵬摹顧愷之洛神圖

展期：2012/01/10 ~ 2012/03/25

陳列室：208

丁觀鵬（活動於 1726-1770），順天（今北京）人。雍正四年（1726）任職畫院，工人物，擅道釋像，山水界畫工整細緻，曾從郎世寧學畫，深受西法影響，乾隆六年（1741）擢升為「一等畫畫人」。《清史稿》云：「畫院盛于康、乾兩朝，以唐岱、郎世寧、張宗蒼、金廷標、丁觀鵬為最。」乾隆帝評丁觀鵬「善臨摹，兼工設色」。此次展出〈摹顧愷

之洛神圖〉卷，即丁觀鵬臨摹內府所藏古畫的代表性佳作。 〈洛神圖〉是以曹植（192-232）著名的愛情詩篇〈洛神賦〉為題材所創作的繪畫作品。

賦文內容描寫黃初三年（222），曹植覲見魏文帝後，自洛陽啟程，東歸封地鄄城，途經洛水之時，邂逅洛水女神宓妃並與之相戀，互傾愛慕之情，惟人神道殊、終致別離。本幅依情節發展擘畫場景如下：休憩、驚豔、嬉戲（採芝、桂旗）、眾靈（戲流、翔渚、湘妃、游女）、徬徨、備駕（屏翳、川后、馮夷、女媧）、離去、悵歸（泛舟、夜坐、東歸）；經比對敘事結構與景物關係，丁觀鵬奉敕臨摹的稿本應是北京故宮所藏〈傳顧愷之洛神圖〉卷。丁觀鵬此卷雖是摹本，然山水造型已自樸拙稚趣的古典畫樣，轉為成熟的金碧山水，且景物間的比例關係已趨精確；援以西洋明暗設色法與定點透視法，表現臉部五官、馬匹體態與空間層次，營造合乎視覺經驗的畫面。 歷代以〈洛神賦〉為文本的畫作不計其數，清宮畫院初試西法，以鮮明的時代性格，

賦予摹本新意，乾隆御題讚：「見說後生畏，誰云前藝空。」以古典圖式與傳統母題，融合西方畫技，正是清宮「摹古創新」的最佳範例。

5）清徐揚日月合璧五星聯珠圖 展期：2012/01/17 ~ 2012/07/16 陳列室：102

2. 國立臺灣美術館畫家風景．國民風景－百年台灣行旅

展期： 2011/07/09 ~ 2012/03/31 地點： A3 展覽室 http://www.ntmofa.gov.tw/chinese/ShowInfomation1_1.aspx?

SN=3258&n=10043

3. 世界宗教博物館智慧華嚴 ─ 首都博物館佛教文物珍藏特展展期：2011 年 11 月 09 日至 2012 年 02 月 19 日

2011 年 11 月館慶，宗博館將與北京首都博物館攜手舉辦「智慧華嚴 ─ 首都博物館佛教文物珍藏特展」，每一件典藏精品，皆蘊含智慧的種子，如同華嚴世界的縮影。既是兩岸博物館交換典藏展覽的美意盛事，也以此沉澱、回歸創建世界宗教博物館的初衷本心，並持續邁步未來十年。

首都博物館百餘件北京出土與傳世的佛教文物，內容涵蓋漢傳、藏傳精品，品類齊全，風格多樣、工藝精湛，不僅反映五朝帝都佛教藝術的恢弘氣度，亦構築起慈悲與智慧的莊嚴世界。2012 年宗博館也將規劃具有在地特色的專題展覽，至首都博物館展覽，兩方以展覽作為媒介，展現深厚的文化底蘊以及藝術美感；同時，亦規劃與展覽相應之專家學者文化講座、專刊出版等推廣活動，以促進兩岸宗教文化藝術以及博物館專業之交流。

一花一世界，一葉一菩提。此次我們遴選的 102 件佛教文物，猶如佛教華嚴世界的一花一葉，件件具有豐富而深邃的文化內涵，不僅充分體現了佛教思想追求、道德崇尚和審美

意趣，而且全面展現了中國漢藏社會政治、經濟、文化等豐富的歷史資訊。透過這一件件文物，我們真心希望您獲得豐富的佛教歷史文物知識，體味佛教莊嚴神聖、寧靜安詳的藝術魅力，感悟佛教慈悲與智慧精神的真諦。

亞洲1. 香港藝術館墨韻國風 — 潘天壽藝術回顧展展期：2011 年 11 月 25 日至 2012 年 2 月 5 日陳列室：當代香港藝術展覽廳 (二樓)

潘天壽（1897 – 1971）是現代中國畫史上舉足輕重的人物，與黃賓虹、齊白石同被譽為傳統派四大家。潘天壽的書畫是自學成家的，他繼承傳統個性派和金石派，融花鳥、山水於一體，用筆生辣、構圖大氣磅礡，展現奮發圖強的時代精神，賦予作品強烈的現代格調。他對中國藝術傳統的提升，影響深遠。潘氏畢業於浙江第一師範學校，其後歷任上海美專國畫系教授、上海新華藝術學院教

育系主任、杭州國立藝術院中國畫主任教授、國立藝專校長、浙江美術學院院長等。他是中國書畫傳統的堅定捍衛者，亦是中國畫現代教育的奠基人，他對中國藝術教育的貢獻，意義重大。是次展覽精選 36 件來自杭州潘天壽紀念館收藏的潘天壽不同時期書畫代表作和多種珍貴文獻，讓觀眾飽覽潘氏不同藝術階段的創作歷程。當中既有早年受吳昌碩影響的《枯竹圖》和 1920至 1930 年代在上海及杭州任教時期的山水畫，亦有他享負盛名的指墨禿鷹和荷花，更有經典巨幅如《鐵石帆運圖軸》、《夏塘水牛圖卷》及《雄視圖軸》等。

2. 澳門藝術博物館玉貌清明－－故宮珍藏兩宋瓷器精品展展期： 2011 年 12 月 8 日開始 是次展覽是中國陶瓷史上瓷藝高峰的一次縱覽，展出故宮博物院珍藏兩宋宮廷及民間瓷器精品共一百八十七件。觀眾可透過兩宋時期宮廷與民間的瓷器，細味千年前仍歷久彌新的沉靜端雅與豐富多姿。

3. 中國故宮博物院 1）明代花鳥畫展

展期：2011-11-30～2012-2-28 陳列室：延禧宮古書畫研究中心展廳故宮博物院收藏有豐富的中國古代書畫。其中既有晉唐宋元的稀世孤本，也有明清各個畫派名家的代表作品，可以清晰、系統地反映中國古代書法與繪畫藝術發展的脈絡。為了感受經典，分享中國書畫藝術的美輪美奐，展示中華傳統文化的博大精深，我們將分批展出歷代書畫家的精品佳作，以供廣大觀眾研究、欣賞。2）故宮博物院藏定窯瓷器精品展展期：2012.09.28-2013.07.31

陳列室：延禧宮古陶瓷研究中心展廳3）古書畫臨摹裝裱技藝傳承特展展期：2012.06.28-2012.12.12 陳列室：延禧宮古書畫研究中心展廳4） 明清扇面精品展 展期：2012.11.30-2013.02.28 陳列室：延禧宮古書畫研究中心展廳

4. 京都國立博物館 [特別展覧会]中国近代絵画と日本

平成 24年 1月 7日（土）～2月 26日（日）会場：特別展示館

中国の近代を中心に活躍した呉昌碩、斉白石、高剣父、徐悲鴻等の絵画作品を、当館

が近年受贈した須磨コレクションを中心に展示し、その多彩な展開を追います。西洋

の近代物質文明の衝撃は、旧態依然とした中国の社会全体を揺さぶり、変革を促しま

した。近代画壇における改革のリーダーとなった陳師曾、高剣父、徐悲鴻等は日本と

の関係が深く、中国絵画の近代化に果たした日本の役割は決して小さくありません。

この展覧会をとおして近代における日中文化交流の一面をご理解いただければ幸いで

す。

5. 大和文華館1）書の美術展期：2012年 1/6（金）～2/19（日）華麗な装飾経典、人柄を偲ばせる高僧の遺墨、流麗な公家の書など、墨蹟には時代や

地域によって異なる美意識が現れています。館蔵の書蹟の名品、中世史研究者であっ

た故中村直勝博士蒐集の古文書（双柏文庫）を中心に、書の流れをたどります。

2）花の美術展期：2012年 2/25（土）～4/8（日）文華苑に梅や桜の咲く美しい季節に、花を表した絵画や工芸を展示します。梅と桜を

中心に、寒さの中に咲く椿、泥の中より美しく咲く蓮、花の王者・牡丹など、様々な

花をモチーフとした華やかな作品が並びます。

6. 大阪美術館1）中国拓本－師古斎コレクション　展期：2012年 1月 7日－2月 5日「中国拓本－師古斎コレクション」では、大阪出身の実業家岡村蓉二郎(号師古斎)から譲渡されたコレクションを中心に陳列を行う。

第一章　殷・周・秦

吉金精拓本 殷－漢

虢季子白盤銘 西周 宣王期（前 827-782）頃秦公簋銘 春秋 景公期（前 577-537）石鼓文春秋－戦国秦権銘秦 始皇 26 年（前 221）嶧山刻石 秦始皇 28 年（前 219）第二章　漢群臣上醻刻石 前漢 後元 6 年(前 158)魯孝王刻石 前漢 五鳳 2 年(前 56)萊子侯刻石 新 天鳳 3 年(16)三老諱字忌日記 後漢 建武 28 年(52)開通褒斜道刻石 後漢 永平 9 年(66)祀三公山神 後漢 元初 4 年(117)馮煥神道闕 後漢 永寧 2 年(121)嵩山開母廟石闕銘 後漢 延 光 2 年(123)

裴岑紀功碑 後漢 永和 2 年(137)北海相景君碑 後漢 永嘉元年(145)石門頌後漢 建和 2 年(148)李禹通閣道記 後漢 元寿元年(155)礼器碑後漢 永寿 2年(156)孟■残碑 後漢 永寿 3年(157)劉平国摩崖 後漢 延熹元年(158)封龍山頌 後漢 延熹 7 年(164)孔宙碑後漢 延熹 7 年(164)史晨奏銘 後漢 建寧 2 年(169)李翕黽池五瑞図 後漢 建寧 4 年(171)熹平残石 後漢 熹平 2 年(173)楊淮表紀 後漢 熹平 2 年(173)白石神君碑 後漢 光和 6 年(183)漢処士残碑 後漢 2 世紀沈府君神道闕 後漢 2 世紀朝侯小子残碑 後漢 2 世紀樊敏碑後漢 建安 10 年(205)第三章　元魏墓誌元楨墓誌 北魏 太和 20 年(496)

元誘妻馮氏墓誌 北魏 景明 4 年(503)元思墓誌 北魏 正始 4 年(507)元詳墓誌 北魏 永平元年(508)司馬紹墓誌 北魏 永平 4 年(511)普賢墓誌 北魏 延昌 2 年(513)司馬昞妻孟敬訓墓誌 北魏 延 昌 3 年(514)

皇甫驎墓誌 北魏 延昌 4 年(515)王誦妻元貴妃墓誌 北魏 煕 平 2 年(517)

元遥墓誌 北魏 煕平 2 年(517)元珽妻穆玉容墓誌 北魏 神 亀 2 年(519)

元孟輝墓誌 北魏 神亀 3 年(520)高植墓誌 北魏 正光元年(520)鄭道忠墓誌 北魏 正光 3 年(522)元秀墓誌 北魏 正光 4 年(523)元崇業墓誌 北魏 正光 5 年(524)李超墓誌 北魏 正光 5 年(525)元顕魏墓誌 北魏 孝昌元年(525)世宗嬪李氏墓誌 北魏 孝昌 2 年(526)元悛墓誌 北魏 建義元年(528)乞伏宝墓誌 北魏 永煕 2 年(533)王悦曁妻郭氏墓誌 北魏 永 煕 2 年(533)

僧令法師墓誌 北魏 永煕 3 年(534)王僧墓誌 東魏 天平 3 年(536)李憲墓誌 * 東魏 元象元年(538)*都合により第四章のケースに展示第四章　隋・唐墓誌

寇熾妻姜敬親墓誌 隋 開 皇 3 年(583)

元範妻鄭令妃墓誌 隋 開 皇 9 年(589)

張礼曁妻羅氏墓誌 隋 開 皇 9 年(589)

鞏賓曁妻陳氏墓誌 隋 開 皇 15 年(595)

蘇慈墓誌 隋 仁寿 3 年(603)劉宝曁妻王氏墓誌 隋 仁 寿 4 年(604)

呂胡曁妻李氏墓誌 隋 大 業 5 年(609)

宮人魏氏墓誌 隋 大業 7 年(611)宮人何氏墓誌 隋 大業 8 年(612)宮人蕭氏墓誌 隋 大業 8 年(612)田光山妻李氏墓誌 隋 大 業 8 年(612)

□夫人王光墓誌 隋 大業 10 年(614)宮人鮑氏墓誌 隋 大業 10 年(614)宮人姜氏墓誌 隋 大業 11 年(615)宮人田氏墓誌 隋 大業 11 年(615)王世琛墓誌 隋 大業 11 年(615)張濬墓誌 隋 大業 12 年(616)馮忱妻叱李綱子墓誌 隋 大 業 12 年(616)房逸墓誌 唐 聖暦 2年(699)第五章　三国・晋・南朝

上尊号碑 魏 黄初元年(220)以後孔羨碑魏 黄初 2年(221)曹真残碑 魏 大和中(227-235)毋邱倹紀功刻石 魏 正始 6 年(245)谷朗碑呉 鳳凰元年(272)禅国山碑 呉 天璽元年(276)天発神讖碑 呉 天璽元年(276)斉大公呂望表 西晋 大康 10 年(289)左棻墓誌 西晋 永康元年(300)広武将軍□産碑 前秦 建元 4 年(368)

枳楊府君神道闕 東晋 隆安 3 年(399)呂憲墓表 後秦 弘始 4 年(402)劉懐民墓誌 宋 大明 8 年(464)梁太祖神道闕 梁 天監元年(502)蕭秀碑陰 梁 天監 17 年(518)蕭憺碑梁 普通 3 年(522)蕭景神道闕 梁 普通 4年(523)第六章　北朝・隋・唐

暉福寺碑 北魏 太和 12 年(488)石門銘北魏 永平 2 年(509)雲峯山論経書詩 北魏 永平 4 年(511)鄭羲下碑 北魏 永平 4 年(511)高慶碑北魏 正光 4 年(523)頃？高盛碑東魏 天平 3 年(536)敬史君碑 東魏 興和 2 年(540)李仲璇修孔子廟碑 東魏 興 和 3 年(541)

西門豹祠堂碑 北斉 天保 5 年(554)強独楽造像碑 北周 孝閔帝元年(557)郷老挙孝義雋敬碑並維摩経刻 北斉 (560)朱岱林墓誌 北斉 武平 2 年(571)赫連子悦墓誌 北斉 武平 4 年(573)馬天祥造像記 北斉 武平 9 年(578)元寿安妃盧蘭墓誌 北周 大 象 2 年(580)

仲思那等造橋碑 隋 開皇 6 年(586)曹植廟碑 隋 開皇 13 年(593)寧贙碑隋 大業 5 年(609)雁塔聖教序 唐 永徽 4 年(653)

2）中国工芸５０００年―金属・陶磁器の多彩な表現

　 会期：2012年 1月 7日（土）～ 2012年 2月 5日（日）網 址 ： http://www.osaka-art-museum.jp/special/

240107chuugokukougei.htm

7. 東京国立博物館1）特別展「北京故宮博院 200選｣ 　

展期：2012 年 1 月 2 日（月） ～ 2012 年 2 月 19 日（日）

陳列室：平成館 特別展示室 日中国交正常化 40周年を迎える 2012年、東京国立博物館は北京故宮博物院の名品

展で幕を開けます。

明時代の永楽帝(えいらくてい)から清時代の宣統帝溥儀(せんとうていふぎ)まで 24人の皇帝が居城とした紫禁城(しきんじょう)に由来する北京故宮博物院は、壮麗な宮

殿建築と 180 万件を超えるコレクションを誇ります。

この展覧会では、それらの貴重な文物から選りすぐりの名宝 200 件が出品されます

二部で構成されるうち、第 1 部では、今まで門外不出とされていた宋・元時代の書画

41 件(一部展示替あり)の展示をはじめ、宮廷絵画や文人画の名品、書のファン必見

の宋三家、元代文人の名品を一挙公開します。青銅器や玉器、陶磁器、漆器、琺瑯器、

染織品といった多彩な分野の傑作も揃う、まさに北京故宮展の決定版というにふさわ

しいラインナップです。第 2 部では、清朝最盛期を築いた乾隆帝の 4 つの肖像画を

軸に、清朝の豊かな世界観を読み解きます。数々の名品とともに描かれた肖像画「是

一是二図」を、現存する作品によって再現するコーナーも必見です。

中国文明の粋が凝縮された「皇帝のコレクション」をぜひご堪能ください。

展示作品： http://www.tnm.jp/modules/r_free_page/index.php?id=1443 2）中国王朝の至宝

展期：2012 年 10 月 10 日（水） ～ 2012 年 12 月 24 日（月）陳列室：平成館 特別展示室

13 億以上の人口を持ち、世界で 4 番目に広い国土を持つ中国。現在も 50を越える

民族を抱えながら、巨大な国家として 6 千年ともいわれる歴史を現代につなげていま

す。黄河や長江といった大河の恵みのもとで高度な文明を発展させてきた中国では、

他国にはない独自の文化や思想が脈々と受け継がれてきました。そして、それは私た

ち日本人の精神的・文化的ルーツにもつながっています。

本展では、中国に誕生した歴代王朝の都ないし中心地域に焦点を当て、最新の発掘

の成果を踏まえながら、それぞれの地域の特色ある文物を通して新たな中国文明像を

ひもといていきます。文物のもつ魅力を紹介しながら、その背景にも視線を及ぼす

ことにより、多元的に発展してきた中国文明のダイナミズムと広がりを展観します。

8. 愛知県陶磁資料館

日本人の愛した中国陶磁　龍泉窯青磁展

会期：平成 24年 1月 21日（土）から 3月 31日（土）まで

会場：愛知県陶磁資料館　本館 第 1・第 2展示室

中国浙江省の西南部に位置する龍泉窯（りゅうせんよう）で焼かれた青磁は、鎌倉時

代から室町時代にかけて莫大な量が日本に輸入されました。　

　中でも上質な製品は「砧（きぬた）青磁」「天龍寺（てんりゅうじ）青磁」の名で

愛され、今日でも数々の名品が伝世されて、国宝、重要文化財に指定されている作品

も少なくありません。

　 また、日本だけでなく、高麗、琉球（現在の沖縄）、東南アジア、南アジア、西アジ

ア、東アフリカなど広い地域に運ばれ、当時の最も上質なやきものとして世界中の

人々に受け入れられたのです。

　2006年に龍泉窯の中で最も品質の高い青磁を生産したことで知られる大窯村地区

の楓洞岩（ふうどうがん）という地点で、明時代初期（14世紀末～15世紀初）に宮

廷用の青磁を焼いた窯が発掘されました。ここでは、それまで謎とされてきた明時

代の皇帝が使った龍泉窯青磁の生産の実像が明らかにされ、世界の考古学者、陶磁研

究者、愛好家の注目を集めたのです。

　本展覧会では、日本伝世の名品の数々と、龍泉・楓洞岩窯址の最新の出土品を併せ

て展覧し、龍泉窯青磁の美の世界とその発展史、日本とのかかわりなどについて探

ります。

歐美1. Freer Gallery of Art1）Seasons

December 18–March 4, 2012Highlighting the permanent collection, this series of exhibition underscores the importance of the seasons in Chinese and Japanese art and culture.Chinese LandscapesSeptember 3, 2011–March 4, 2012From springtime cherry blossoms to autumnal scarlet maples, see how seasonal associations permeate Japanese poetry, art, and customs.

2）Shipwrecked: Tang Treasures and Monsoon WindsSpring 2012Arthur M. Sackler Gallery The Smithsonian's Freer Gallery of Art and Arthur M. Sackler Gallery in Washington, D.C., the Singapore Tourism Board, and the National Heritage Board of Singapore announced a partnership to organize the first exhibition and international tour of one of the oldest and most important marine archaeological finds of the late 20th century.The exhibition will focus on the 1998 discovery of a ninth-century shipwreck and its astonishing cargo of over 60,000 objects from Tang dynasty China, ranging from mass-produced ceramics to rare and extraordinary items of finely worked gold. The cargo has laid undisturbed on the ocean floor for more than 1,100 years until sea-cucumber divers discovered it off the coast of Indonesia's Belitung Island. The ship, an Arab dhow, and its contents confirm the existence of a direct maritime trade

route (alluded to in ancient Chinese and Arabic texts) from China to the Gulf and beyond — well before the Portuguese set sail in the 15th century.The discovery offers scholars and scientists an unprecedented time capsule of knowledge about the period and a wealth of unanswered questions that will fuel research for decades to come.The grand opening of the exhibition will take place in Singapore in early 2011. The Sackler Gallery will host the U.S. premiere in spring 2012, coinciding with the museum's 25th anniversary celebration. The exhibition is expected to travel for about five years to major museums in Asia, the United States, Europe, the Middle East, and Australia.

3）Silk Road Luxuries from ChinaOpens November 5A vast network of caravan trails has long linked the oasis settlements spread across the Central Asian desert. For nearly two millennia these trade routes, now collectively known as the Silk Road, facilitated the spread of Buddhism and provided a course for the long-distance exchange of luxury goods between merchants and traders in China and the West. The impact of foreign imports on the arts of China is particularly apparent in objects dating from the sixth through eighth century, when Chinese craftsmen explored new materials, techniques, forms, and decorative patterns. They also began to use silver and gold for tableware and other functional objects. Exceptional examples of this phenomenon are now on view in the Freer Gallery. Most were made in the vicinity of the Tang capital at Chang’an (modern Xi’an) and attest to the cosmopolitan tastes of Chinese elites interested in foreign styles and customs.

4）Winged Spirits: Birds in Chinese Painting February 11–August 5, 2012In Chinese culture many birds are endowed with strong symbolic associations, both on their own and especially in combination with certain auspicious flowers. In the tenth century, birds and flowers emerged as major themes in traditional Chinese painting. At first such images were based on the close observation of nature and employed fine detail and color; later they derived from the painting tradition itself and often were rendered in only ink. While the primary interest of many artists was to capture the essence or spirit of their subjects, most birds in the paintings can be scientifically identified. More than thirty-five species of birds are depicted in flight, on the ground or in water, or perched on tree branches.

2. The Metropolitan Museum of Art 1）Chinese Art in an Age of Revolution: Fu Baoshi (1904–1965) January 21 – April 15, 2012 Perhaps the greatest figure painter and landscapist of China's modern

period, Fu Baoshi successfully integrated Western and traditional artistic influences to create haunting images that evoke a mood as much as a place or person. This exhibition will treat Fu's forty-year career with some seventy paintings, including many of the artist's recognized masterpieces, drawn from the preeminent holdings of China's Nanjing Museum. The exhibition, augmented by superb works from a New York private collection, will be the most comprehensive treatment of the artist's oeuvre ever presented outside of Asia. Co-organized with the Cleveland Museum of Art, the exhibition will feature a richly illustrated catalogue.

2）The Printed Image in China, 8th–21st Century May 5 – July 29, 2012

China invented both paper and printing and this exhibition presents an outstanding survey of the art of Chinese printing from the time of its inception in the ninth century through its burgeoning as an artistic medium during the seventeenth century and its continued vitality as a medium for both popular culture and political commentary during the twentieth century. The exhibition will consist of approximately 136 prints drawn from the encyclopedic holdings of the British Museum.

3. Asian Art Museum, National Museums in Berlin 1) Bamboo and its Friends.Chinese Painting from the Ming and Qing DynastiesTue 11 October 2011 - Sun 18 March 2012The three 'friends of winter': bamboo, plum blossom and pine remain a very popular motif, even today. Defying the inclemencies of weather and the seasons, they have come to symbolize endurance and hardiness. At the same time, though, they particularly lend themselves to demonstrating the painter's skill in handling the brush and ink. The artist does not attempt to render the bamboo and its friends faithfully, but rather strives to capture their essence, depicting each plant using just a few masterful strokes, usually in black ink.On show here are some 47 works that were mostly produced during the Ming and Qing dynasties and which depict bamboo and its wintry friends in all their forms. Bamboo, plum blossom and pine are depicted either heavy

with drops of rain, poetically tender or vigorously robust. The various artists also combine them with one another or have them growing beside bubbling brooks or in the gardens of scholars. Of particular interest here are the three hanging scrolls by the Qing-era master, Zheng Xie (Banqiao, 1693-1765); one of the Eight Eccentrics of Yangzhou, he was famed for his excellent depictions of bamboo.2) Chrysanthemums and Bamboo. Symbolism, Legends, PolymorphismTue 25 October 2011 - Sun 25 March 2012Chrysanthemums and bamboo are two of the most popular motifs in Chinese painting, even today, and are imbued with rich symbolism. They are attributed with certain 'masculine' virtues, which the artist by inference ascribes to himself to reveal facets of his personality. Both plants especially lend themselves to demonstrating the painter's skill in handling the brush and ink.Today's exhibition presents 16 works, in which chrysanthemums or bamboo are combined with depictions of various animals, jagged ornamental rocks and autumnal motifs. In some pictures, chrysanthemums and bamboo also appear on their own, for instance 'dancing' in the rain. The images are imbued with their own symbolism, depending on how they are combined with other motifs, and often also refer to stories from long ago. The manner in which they are executed is just as diverse as the motifs themselves. In style, they range from traditional monochrome paintings up to depictions in vibrant colours that border on the abstract. This range of styles lends the works their tender lyricism or gives them their lively, expressive force. The exhibition presents the diverse range of forms evident in the motifs of chrysanthemums and bamboo, in the process highlighting the fresh creative impulses with which artists of the 20th century have infused traditional Chinese painting.3) China und Preußen.Porzellan und TeeFri 1 June - Mon 31 December 2012Unter dem Stichwort "Chinesisches Porzellan" werden Teile des um 1755 als Geschenk für Friedrich II. in Jingdezhen gefertigten und mit dem Großen Preußischen Staatswappen verzierten Services gezeigt, das die Stadt Emden mit einem der Schiffe der preußischen Handelskompanie erreichte. Als Kontrapunkt steht dem das "Teehaus" des zeitgenössischen Künstlers Ai Weiwei gegenüber.

Mit dieser Präsentation im 'Thronsaal' des Museums wird auf zwei zentrale Errungenschaften des Fernen Ostens verwiesen, die unter Friedrich II. eine Brücke nach Ostasien schlugen: Porzellan und Tee. Die Ausstellung wirft ein Schlaglicht auf ein frühes Kapitel global ausgerichteter preußischer Handelsgeschichte und damit verbundenen kunsthistorischen Implikationen.Die Ausstellung findet im Rahmen einer Reihe von Veranstaltungen der Stiftung Preußischer Kulturbesitz aus Anlass des 300. Geburtstags Friedrichs des Großen am 24. Januar 2012 unter dem Motto "Kunst - König - Aufklärung" statt.4) Auf Grünwedels Spuren.Restaurierungsforschung an zentralasiatischen Wandmalereien im Rahmen des KUR-Programms Sat 10 December 2011 - Sun 29 April 2012Die Staatlichen Museen zu Berlin besitzen die weltweit bedeutendste Sammlung zentralasiatischer Kunstschätze. Diese sind insbesondere dem Forschergeist des Indologen Albert Grünwedel (1876 bis 1935) zu verdanken. Grünwedel war Expeditionsleiter der ersten Turfan-Expedition 1902 und Direktor der Indischen Abteilung am Museum für Völkerkunde in Berlin.Die von Albert Grünwedel publizierten kunstwissenschaftlichen und archäologischen Ergebnisse seiner Forschungen zu den entdeckten und teilweise nach Berlin verbrachten Wandmalereien, Lehmskulpturen, Stein- und Holzobjekten, Textilien, Metallfunden und Handschriften machten in Deutschland und darüber hinaus in ganz Europa, die buddhistische Hochkultur Zentralasiens bekannt. Die Ausstellung erklärt einerseits die 100-jährige Museums- und Expeditionsgeschichte der wertvollen buddhistischen Wandgemälde und andererseits die neu erarbeiteten wegweisenden Erhaltungsstrategien für diese Sammlung.

4. Musée GuimetEnfants de Chine Petits tigres et jeunes dragons Du 17 décembre 2011 au 14 mai 2012, le musée des Arts asiatiques accueille cette nouvelle exposition Enfants de Chine, petits tigres et jeunes dragons, qui dans une approche multiple, à la fois sociale, ethnologique, religieuse et esthétique de l’enfance chinoise, et à travers costumes et objets de la vie quotidienne ou de la vie de cour, nous plonge dans l’exploration de deux mondes opposés : celui des classes populaires et celui des élites.

http://www.guimet.fr/Enfants-de-Chine-Petits-tigres-et

演講：1. Christian Art on the Silk Road

VisAsia Hingyiu Mok Mandarin Language Lecture 2012 Art Gallery of New South Wales Sydney, Australia 28 January 2012 From the cross on the lotus of Tang Nestorianism to the palace architecture of the Christian university campus in modern China, religious art from the West has undergone tremendous transformation since its introduction to China via the Silk Road. Join professor Gu Weimin from the Shanghai Normal University and adjunct professor Milton Wan from the Chinese University of Hong Kong in a visual art journey, spanning over a thousand years, from Rome to Beijing, and discover the inter-faith merging of Christian, Buddhist and Muslim arts along the way. NOTE: This lecture is delivered in Mandarin only.

2. Preparation for the Afterlife: Tomb Treasures of Han ChinaJames Lin (Fitzwilliam Museum, University of Cambridge) Oriental Ceramic Society London, UK 10 April 2012 The Han period (206 BC-AD220) is noted for the lavishness of its burials. However, Chinese texts hardly mention how the imperial household prepared for the funeral of the emperor or imperial family members. Judging from the large scale of the tomb structures and the rich funeral objects in a diverse range of materials, the preparation for a king's funeral must have been well organized. Like the Egyptian pyramids, the construction of Han imperial tombs and the preparation of burial items were under strict and complicated supervision. The emperors' tombs in Xi'an cannot be opened for conservation reasons, so we do not know what they look like. However, judging from the imperial members' tombs that have been excavated in eastern China, and the 82 tomb passages that have been discovered in Yangling, Xi'an, which belonged to emperor Jingdi (r.188-141 BC), we can assume that an emperor's tomb would have been similar to those of the kings in eastern China, but larger in scale. This talk aims to reconstruct the Han imperial funeral process by putting all of the pieces of the jigsaw together from the surviving texts and the archaeological

evidence. James C. S. Lin is the Senior Assistant Keeper of Applied Art at the Fitzwilliam Museum, Cambridge, with responsibility for the Asian art collection. James obtained a Masters degree and Ph.D. in Chinese Art History at the University of Oxford. He worked as a Research Assistant at the Ashmolean Museum between 2000-2002. He was employed as a Special Assistant at the British Museum, helping to set up the Selwyn and Ellie Alleyne Gallery of Chinese Jade between June-November 2002. Afterwards he returned to Oxford as the first Christensen Fellow in Chinese Painting, at the Khoan and Michael Sullivan Chinese painting gallery at the Ashmolean Museum. In September 2004 he was appointed as the Assistant Keeper of Applied Arts at the Fitzwilliam Museum.

3. Tang Center Lecture Series Claudia Brown (University of Arizona) Princeton University Princeton, NJ 16-19 April 2012 16 April Lecture 1. "Proceeding Down the Grand Canal: The Qing Emperors' Maps and Topographical Paintings" Traditional Chinese panoramic maps remained a standard administrative tool to the end of Imperial rule. However, the Kangxi Emperor (r. 1662-1722) recognized the strategic utility of Western cartography and employed Europeans to survey and map the empire. His successors, Yongzheng (r. 1723-1735) and Qianlong (r. 1736-1795), carried on the practice. During the same period, court artists studied and re-created masterworks in the topographical genre from the Song dynasty (960-1279). The legacy of these traditional paintings could be both useful and poetic, and it informed the well known series of Southern Inspection Tour scrolls commissioned first by Kangxi and later by Qianlong. In panoramas that foreshadow Google Street View, Qing painters recorded a wealth of information while maintaining a link to the classical aesthetic. 17 April Lecture 2. "The Emperor Commissions an Inventory: The State of the Field of Qing Painting Studies" In 1744 court officials began the evaluation and cataloguing of the vast palace collection of scrolls and albums, old and new. Their work set the

starting point for the study of painting of the Qing dynasty (1644-1911). Meanwhile, an eager audience in Europe and North America, already keen on Chinoiserie, developed interest in "export pictures" which combined elements of the traditions of China and the West. Although modern art historians were slow to take up the study of Qing painting, the formation of the Palace Museum and the first publications of its collections in the 1930s spurred a general interest that has resurfaced in the last two decades. The challenge remains to sort out the relationship of court painting to private commissions and of scholar-amateur work to that associated with a modern, commercial art market. 19 AprilLecture 3. "Scholar Zhang Peeks at Yingying: How Printed Books Inspired Painters of the Qing Dynasty" Publishing flourished in the late Ming period and then again shortly after the Qing conquest in 1644, despite the destruction of important publishing houses in several cities during the turmoil of the fall of Ming. The sophisticated simplicity of traditional Chinese printing techniques – with no presses needed – made small-scale publishing workable and trade in books expanded. Books were exported to Japan on ships with other cargoes. Old books were collected with enthusiasm. The Qianlong emperor's great literary compilation, the Siku Quanshu (Complete Library of the Four Treasuries), now a scholarly resource available and searchable online, was made possible by the cooperation of private book collectors. Books were also available on a popular level and were sold from floating vessels on the Southern waterways. The popularity of printed books continued to the end of the Qing dynasty, despite the destruction of many printing houses during the Taiping Rebellion. A rapid transition to lithography began in the late 1870s. Throughout the period, painting manuals and illustrated literary works circulated widely, inspiring new trends in painting.

4. Chinese Imperial Porcelains—Retrospection and Innovation Regina Krahl Art Institute of Chicago 12 May 2012 Regina Krahl, independent scholar, reviews 600 years of stunning wares from imperial workshops in China's "porcelain city," Jingdezhen, where innovation was inspired by the past.

5. Chinese Imperial Porcelains—Retrospection and InnovationRegina Krahl Art Institute of Chicago 17 May 2012 Regina Krahl, independent scholar, reviews 600 years of stunning wares from imperial workshops in China's "porcelain city," Jingdezhen, where innovation was inspired by the past.

研討會：1. Room for Another View: China’s Art in Disciplinary Perspective

University of Michigan

Friday, Feb. 10th-11 th

Conference ScheduleFriday, Feb. 10th

8:00-8:30am: Continental Breakfast

8:30-9:00: Welcome: Derek Collins, associate dean for humanities; Opening Remarks: Matt

Biro, chair of Department of History of Art; Opening Address: Martin Powers, Sally Michelson

Davidson Professor of Chinese Arts and Cultures

9:00-10:45 am: Production [Panel One]

Chair: David Doris (U-M)

Respondents: David Doris, John Onians (University of East Anglia), Erik Meuggler (U-M)

Speakers:

Patricia Ebrey (University of Washington). “Art Academies.”

Cary Liu (Princeton University). “Architectural Space”

J. P. Park (University of Colorado, Boulder). “Printing.”

Martin Powers (U-M). “Art Production and Social Agency”

10:45-11:00: Coffee break

11:00-12:45: Reality [Panel Two]

Chair: Alex Potts (UM)

Respondents: Alex Potts, David Summers (University of Virginia), Kevin Carr (UM)

Speakers:

Dora Ching (Princeton University). “Portraiture.”

Shane McCausland (SOAS). “Figure Painting.”

Katherine Tsiang (University of Chicago). “Religious Art.”

Peter Sturman (University of California, Santa Barbara). “Landscape.”

12:45-2:30: Lunch

2:30-4:15: Persons [Panel Three]

Chair: David Porter (UM)

Respondents: David Porter, James Elkins (Art Institute of Chicago), Diane Owen Hughs (UM)

Speakers:

Jessica Rawson (Oxford University). “Ornament.”

Wu Hung (University of Chicago). “Ritual Objects.”

Xin Wu (College of William and Mary). “Gardens.”

Tani Barlow (Rice University). “Fashion.”

4:15-5:00: General Discussion

5:30-7:30: Dinner (by invitation)

Saturday, February 11th

8:30-9am: Continental Breakfast

9:00am-Noon: Reflexivity [Panel Four]

Chair: Celeste Brusati (UM)

Respondents: Celeste Brusati, Nicholas Mirzoeff (NYU), Christian Depee (UM)

Speakers:

Eugene Wang (Harvard University). “Space.”

Alfreda Murck (National Palace Museum, Beijing). “Word and Image”

Chen Jianhua (HKUST). “Visuality.”

Jerome Silbergeld (Princeton University). “Literati Painting”

10:15-10:30 Coffee break

10:30-12:00: Respondents and General Discussion

12:00-2:00: Lunch

2:00-2:30 Showing of Selected Paintings from the Collection of the University of Michigan

Museum of Art

2:30-5:00: Language [Panel Five]

Chair: Xiaobing Tang (UM)

Respondents: Xiaobing Tang (UM), W.J.T. Mitchell (University of Chicago), Basil Dufallo

(UM)

Speakers:

Ronald Egan (University of California, Santa Barbara). “The Language of Quality”

Susan Bush (Fairbank Center for Chinese Studies, Harvard). “Imitation and Expression.”

Ginger Hsu (Yang Ming University, Taiwan). “Imitation and Originality”

Richard Vinograd (Stanford University). “Classification.”

Cao Yiqiang (China Academy of Arts). “English Terms and Chinese Art.”

5:00-5:30: Closing Remarks: Haun Saussy (University of Chicago)

For all conference inquiries, please contact Stephanie Harrell (sharrell@umich.edu)

5:30-6:00: Reception

6:30-8:30: Dinner (by invitation)

Events

Events Archive

Multimedia

2. 中国近代絵画の形成と日本

日時：平成 24 年 2 月 11 日（土）　会場：国立京都国際会館　アネックスホール

プログラム第一部　研究発表

「嶺南画派にみえる日本的画風」　李偉銘 氏（広州美術学院研究員）

「中国近代洋画と日本」　李超 氏（上海大学教授）

「二つの世界の出会い

―洋画教師・収集家 ヴォイチェフ・ヒティルの 1920－30年代の北京における活動」

ミハエラ・ペイチョホヴァー氏（プラハ・ナショナルギャラリー研究員）

第二部　パネルディスカッション

李偉銘 氏

李超 氏

ミハエラ・ペイチョホヴァー 氏

呉 孟晋（京都国立博物館研究員）

司会：西上 実（京都国立博物館学芸部長）会場国立京都国際会館　アネックスホール

日時：平成 24年 2月 11日（土）　午後１時より５時、聴講無料申込方法往復はがき

に住所・氏名・年齢・職業・電話番号を明記の上、京都国立博物館「国際シンポジウ

ム」係（〒605-0931　京都市東山区茶屋町 527）までお申し込みください。12月 1日

より受け付けます。

3. Association for Asian Studies Annual Conference Toronto, ON Canada 15-18 March 2012

7. Writings on Modern Design Histories for the Global World: Issues and Perspectives from Modern Design Histories in East Asia (Yuko Kikuchi, University of the Arts London) 13. individual Papers: Cultural Images & National Symbols 18. Visual/Textual Appropriation and Trans-Creation in Early Modern

Kusazoshi (Laura Moretti, Newcastle University) 27. So How Bad Was It? Comparative Decadence of the Jiajing and Wanli

Eras (Katharine Burnett, University of California, Davis) 45. Political Power and the Relationship between Gods and Buddhas in

Fifteenth- and Sixteenth-Century Japan (Christopher D. Mayo, Princeton University)

55. Seeing through Chinese Costume and Textiles (Jennifer G. Purtle, University of Toronto) 63. Translation, Transmedia and Transcultural Migration of Anime and

Manga from Japan: Intersections between Culture and Cultural Commodities across Borders and Media (June M. Madeley, University of New Brunswick) 74. Culture and Time: The Art of Historical Imagination in the 17th-

Century Kyoto Renaissance (Morgan Pitelka, University of North Carolina, Chapel Hill) 79. Seeing is (Dis)believing: Visuality, Truth Claims, and Representation in

Modern China (Shengqing Wu, Wesleyan University) 82. Place, Memory, and Visuality in Chinese Painting (Juliane Noth, Free

University, Berlin) 87. The Visual Politics of Asia: Lens-Based Images in the Modern World

(Thomas F. O'Leary, Saddleback College) 101. Old Capital, New City: Art and Design in Twentieth-Century Kyoto

(Yasuko Tsuchikane, Parsons School of Design), sponsored by the Japan Art History Forum 105. Dong nan xi bei: Chinese Cultural Production and Its Transnational

Contexts (Nicolai Volland, National University of Singapore) 115. Handmade Futures: Design, Labor and Identity in Asian Craftwork

(Clare Wilkinson-Weber, Washington State University) 123. Enacted Space: New Meanings from Built Environments in

Transforming Cities (Sandria B. Freitag, North Carolina State University) 136. The Many Lives of a New Canon: Performance Genres, Print Culture,

and Social Reproduction in Qing China (Patricia A. Sieber, Ohio State University) 138. Edges of the Mongol-Yuan World: Situating the Yuan Dynasty in New

Spatial and Temporal Contexts (Anne Gerritsen, University of Warwick) 149. (Re)framing "Asia": Literary and Visual Images of "Asia" Produced in

Modern East Asia and the West (Jooyeon Rhee, York University, Canada) 163. Memory, Narrative, Community: Reinventing the Past in Tibetan Art

and Text (Carl S. Yamamoto, Towson University) 165. To and from Beijing: Mobile Painting in 18th-Century China (Kristina

R. Kleutghen, Washington University, St. Louis) 166. Contested Space: New Research on the Tombs of China's Ruling Elite

(Aurelia A. Campbell, Lake Forest College) 171. Representations of Avalokiteshvara across Asia and Genres (Punam

Madhok, East Carolina University) 182. No Ideas but in Things: Material Culture as Common Ground in

Contemporary Japanese Cultural Studies (Eve Zimmerman, Wellesley College) 201. The Arts of Death in Asia (Melia Belli, University of Texas, Arlington) 218. Representing Intercultural Transposition in Buddhist Mongolia

(Matthew W. King, University of Toronto) 222. Rhetorics of Eroticism in Chinese Art and Literature, Song to Ming

(Tamara H. Bentley, Colorado College) 250. Art and Agency of the Qianlong Court (Wen-shing Chou, City

University of New York, Hunter College) 254. The Han Empire at the Periphery and Beyond: Perspectives from

Archaeology and History (Nam C. Kim, University of Wisconsin, Madison) 281. Refiguring the Buddha in Tibet (Andrew H. Quintman, Yale University) 288. Creative Industries and Cultural Action in Japan (Marc Steinberg,

Concordia University) 295. Flesh for Fantasy: Performing the Chinese Past in the Age of Digital

Photography (Yuhang Li, Yale University) 298. Seeing Double? Paired Imagery in Buddhist Art in China (Michelle C.

Wang, Georgetown University) 328. Cultural Consumption and commodification in Asian Contexts (Amy E.

Singer, Knox College) 344. "Post-Bubble" Contemporary Art in Japan: Toward an Art History of

the 1990s and After (Adrian Favell, Sciences Po) 370. Readers and Visuality: Literary and Artistic Modes in 19th- and 20th-

Century Japan (Ann Sherif, Oberlin College) 371. The Politics of Japanese national Symbols (Fabian Bauwens, Johns

Hopkins University) 375. Transnational Flow & Hybridity: Contemporary Art, Design, and

Home in Hong Kong (Wendy S. Wong, York University)

4. 龍泉窯青磁の謎を探る

　　講師：浙江省文物考古研究所　研究員　沈岳明（しんがくめい） 氏

　　　　　北京大学　教授　秦大樹（しんたいじゅ）氏

　　　　　龍泉青瓷博物館　館長　呉秋華（ごしゅうか）氏

　　　　　杭州歴史博物館　副館長　唐俊傑（とうしゅんけつ）氏　ほか

　　日時：平成 24年 3月 24日（土）13：30～16：00－3月 25日（日）10：00～16：00

その他の行事など、詳細については添付した開催要項(Word)や

愛知県陶磁資料館公式サイト http://www.pref.aichi.jp/touji/ をご参照ください。

講座：1. Discussion with Craig Clunas: Approaches to Visual and Material Cultures

Tuesday, March 27, 20122:00-6:00 pm, Lecture Hall

Institute for the Study of the Ancient World, New York University15 East 84th Street, New YorkCraig ClunasProfessor of Chinese Art, Oxford University2012 speaker of the A. W. Mellon Lectures in the Fine Arts, National Gallery of Art, Washington D.C.Discussants & moderators:Anne Dunlop (Tulane University)Jonathan Hay (New York University)Maxwell Hearn (Metropolitan Museum)Dorothy Ko (Barnard College)Karen Lang (University of Warwick)Susan Naquin (Princeton University)Lillian Tseng (New York University)Joanna Waley-Cohen (New York University)The event is free and open to the public.Seating is limited, RSVP required: isaw@nyu.edu.

2. Chinese Painting and Its AudiencesCraig Clunas (University of Oxford) Sixty-First A. W. Mellon Lectures in the Fine Arts Center for Advanced Study in the Visual Arts National Gallery of Art Washington, DC In March-April 2012 Craig Clunas, Professor of the History of Art and a

member of the China Centre, will deliver the Sixty-First A.W. Mellon Lectures in the Fine Arts at the National Gallery of Art, Center for Advanced Study in the Visual Arts in Washington DC. The lecture series will be entitled "Chinese Painting and Its Audiences," and will provide a new account of the ways in which the category of "Chinese painting" has been constructed by different types of viewers, both inside and outside China, from the middle of the sixteenth century to the late twentieth century. The

dates and titles of the individual lectures, which are open to the public and generally attract a large audience, are: 11 March: Beginning and Ending in Chinese Painting 18 March: The Gentleman 25 March: The Emperor 1 April: The Merchant 15 April: The Nation 22 April: The People The A. W. Mellon Lectures in the Fine Arts were established in 1949 "to

bring to the people of the United States the results of the best contemporary thought and scholarship bearing upon the subject of the fine arts"; previous Mellon lecturers with Oxford connections include Sir Kenneth Clark, Sir Isaiah Berlin, Lord David Cecil and Sir John Boardman. This will be only the second time the Mellon Lectures will deal with a Chinese topic; in 1998 Lothar Ledderose lectured on "Ten Thousand Things: Module and Mass Production in Chinese Art." The lectures are published in the Bollingen Series of Princeton University Press, and podcasts of recent series are available at http://www.nga.gov/podcasts/mellon/

網頁1. Index to Ming Dynasty Chinese Paintings http://ted.lib.harvard.edu/ted/deliver/home?_collection=ming The Ming dynasty Chinese painters and paintings index is a searchable dataset that continues James Cahill's print publication "An index of early Chinese painters and paintings: T'ang, Sung, and Yüan." Compiled by Prof. Cahill over a period of many years, the database contains over 10,000 records including three types of data: 1) artist biographies, 2) artwork descriptions and 3) a bibliography covering the Ming Dynasty period, mid-fourteenth through mid-seventeenth centuries in China. Artist and Place names are currently transliterated in Wade-Giles, and Painting Titles are in English or Wade-Giles. Many titles in the Bibliography field contain Asian characters and can be searched using Asian script. To search or browse the collection follow one of the links at the left. Please see "Help" for searching with Asian script.

2. 多方觀照: 近代早期歐洲與東亞在視覺、物質文化上的交會互動 (‘Perspectives on Artistic and Cultural Exchanges between Europe and East Asia, 1600-1800’)

中央研究院(Academica Sinica)近史所http://exchange.mh.sinica.edu.tw 網站緣起於我們的整合型計畫「多方觀照：近代早期歐洲與東亞在視覺、物質文化上的交會互動」，希望透過本網站連結彼此的研究興趣，更與世界各地有相同知識興趣的追求者，一同探究歐亞交流領域的廣闊天地。交流史或全球史的研究近年來蔚為大觀，在此知識的森林中，我們的計畫僅是其中一株剛成長的小樹，但是我們希望藉由網站所提供的內容與訊息，對交流史 或全球史的研究有所建樹我們從使用者的角度來設計網站，構想的單元雖然不多，但希望提供大家最想知道的資訊。我們也設計了討論區，大家註冊後，就可以在 區內發言討論。希望大家踴躍參與討論，討論所能激起的智慧火光，那怕是一丁點的火星，或許在不經意間，可以照耀大家踽踽獨行的研究長路。“The website is focused on the artistic and cultural exchanges between Europe and East Asia in the early modern period. Its contents include new information, bibliographic data, forum, and an introduction to related research projects sponsored by the National Science Council, Taiwan .”

3.明清與民國檔案跨資料庫檢所平台 http://archive.ihp.sinica.edu.tw/mctkm2c/archive/archivekm