藝術/文化/史ArtsInfo

09/09/2011 1. 感謝弓野隆之、Kevin McLoughlin、賴毓芝、朱萬章、板倉聖哲、黃立芸、何傳馨所提供的資訊。部分訊息轉貼自Nixi Cura維護之Arts of China Consortium網站。

2. 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。

3. 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。

4. 最新訊息以紅色標示，內容包括中(Big5)、英、日文(IME)碼。5. 本期更新: 展覽、研討會。6. 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■ 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. 廣東省博物館5. 中國國家博物館6. 東京國立博物館7. 京都國立博物館8. 泉屋博古館9. 黒川古文化研究所10. 大和文華館11. 澄懐堂美術館12. 九州博物館13. 大阪美術館14. 島根県立古代出雲歴史博物館■ 歐美

1. Freer Gallery of Art2. Art Museum, Princeton University3. The Metropolitan Museum of Art4. Honolulu Academy of Arts

台灣1. 故宮博物院展覽：

http://www.npm.gov.tw/exhbition/object.htm1）山水合璧─黃公望與富春山居圖特展展期： ~ 2011年 9月 5日(第 2階段)陳列室：210, 212

故宮珍藏的國寶級畫作〈富春山居圖〉與原屬一卷今藏於浙江博物館的〈剩山圖〉，將同時展出，重現元代黃公望曠世傑作的原貌。「山水合璧─黃公望與富春山居圖特展」展覽內容規劃為「黃公望的繪畫淵源」、「黃公望書畫珍蹟」包含〈富春山居圖〉與〈剩山圖〉、「黃公望之友」、「富春山居圖臨仿本」及「黃公望的影響」等單元，以呈現〈富春山居圖〉在中國文人畫傳統中承先啟後的藝術成就。因此展品除了國立故宮博物院的〈富春山居圖〉、黃公望其他畫作與其師承與影響之畫作，以及浙江博物館的〈剩山圖〉之外，尚借自北京故宮、中國國家博物館、上海博物館、南京博物院及雲南省博物館等博物館書畫作品，以呈現黃公望的書畫淵源、存世真跡與後世影響。

2）錦繡自玲瓏－院藏貿易瓷特展 展期： 至 100年 9月 25日陳列室：203

3）錦繡呈輝－五代繡三星圖 展期：2011/07/01 ~ 2011/09/18 陳列室：203

4) 精彩 100‧國寶總動員 展　期：2011/09/23 ~ 2012/01/03 陳列室：105, 107, 202, 204, 206, 208, 210, 212http://tech2.npm.edu.tw/Exhibit/sysweb/npm100/zh-tw/index.html

5）康熙大帝與太陽王路易十四特展－中法藝術文化的交會 展　期：2011/10/03 ~ 2012/01/03 陳列室：圖書文獻大樓一樓特展區（週一不休館，全年無休）

十七世紀後半至十八世紀初期，歐亞大陸東端的中國與西端的法國，各自引領著東方與西方文化與藝術發展的風潮。此時中國的君主是清聖祖康熙大帝，法國的君主是太陽王路易十四。 兩位君王的生平事蹟有著驚人的相似之處。他們都是幼沖登基，一由祖母、一由母后

撫育、輔政，將兩位幼年君王培育成允文允武、仁民愛物、雅好藝術的全能君主。他們親政前各自有權臣主政，親政後皆夙夜匪懈、戮力國政，並且各自鞏固了愛新覺羅家族與

波旁王室的帝王權力。 當時分居兩地的君王經由法國耶穌會士架起的無形橋樑，有了間接的接觸。透過傳

教士們的推介，路易十四對康熙皇帝有了比較清晰的認識，法國朝野人士也興起對中國文化與藝術的好奇與模仿。在傳教士的講授下，康熙皇帝認識了西方的科學、藝術與文化，並推而廣之，使得當時清朝臣民中不乏潛心學習西學之士。 為了慶賀建國百年，本院特籌畫、推出本項展覽，除了選展八十三件院藏文物外，

北京故宮博物院、上海博物館與瀋陽博物院分別提供二十件、十件與兩組件文物參展，另外也向香港私人收藏家商借一件藏品參展。除了兩岸三地的文物外，也遠自法國的國家圖書館與十二個博物館商借七十四組件文物參展。除此之外，法國外交部珍藏一封路易十四寫給康熙大帝的信函，因去年（2010）曾展出，故此次特精心複製後共襄盛舉。 在藉文物述說文明的原則下，展覽分成四大單元，第一單元開宗明義地介紹康熙大

帝與太陽王路易十四的個人、家庭、重要事功等；第二單元闡述當時法國耶穌會士在兩位君王間架起的無形橋樑；第三單元重點述說經由傳教士與商旅的推介，中法兩國在文化與藝術方面的直接接觸與模仿；第四單原則舉例詳述雙方交會後各自創發的成果。 希望藉由這次特展，讓世人進一步瞭解在十七世紀後半至十八世紀初期的這個時候，

東西兩大君王在法國耶穌會士的穿梭與推介下，中法雙方在文化與藝術方面的交會，以及交會後迸發出的燦爛火花。

2. 臺灣國立美術館畫家風景．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

亞洲1. 香港藝術館1）抗古希心－李研山的藝術展期：2011年 6月 10日 至 2011年 10月 16日陳列室：中國書畫展覽廳 (四樓)

李研山（1898 – 1961）是近現代廣東畫壇舉足輕重的人物，1930年代，他是廣東國畫研究會的骨幹成員，同時又是廣州市市立美術學校的校長，對粵港兩地的藝術發展影響深遠。是次展出的作品與文獻，充分反映李研山的藝術人生及其與粵港兩地藝壇的密切關係。

是次展覽將展出逾 120幅李氏的山水、花鳥作品。他上承元、明之風格並於此基礎上發展其個人畫風，深厚傳統功力在其臨古精品中可見一斑。這批難得的李研山平生力作，乃是由李氏後人完整保存，並慷慨借出展覽。

http://www.lcsd.gov.hk/ce/Museum/Arts/chinese/exhibitions/exhibitions01_apr11_03.html

2）遨遊天地 ─ 中國瑞獸珍禽文物展期：2011年 7月 22日起陳列室：中國文物展覽廳 (1) (三樓)

自古以來，人類與動物的關係密切，早在遠古狩獵時代，人類便依靠動物以供應生存所需，許多原始氏族亦以動物作為部落的守護神，期盼透過對生物的崇敬而得到福祉庇護。新石器時代(約公元前 7000-前 2100))甘肅嘉峪關與賀蘭山的岩畫已出現牛、羊、鹿

等動物題材，形象地展現中國古代草原地區游牧民族的生活狀況。新石器時代仰韶文化的彩陶亦繪有大量魚、蛙、雀鳥圖案。商代(約公元前 1600-前 1100)不少青銅器上鑄有饕餮、夔龍、鳳鳥等著重形式美的紋飾。隋(581-618)、唐(618-907)時，從三彩馬和鎮墓獸中可見動物靈獸的造形，已栩栩如生。宋(960-1279)瓷上的鳥獸圖案，更是形象活潑，線條流暢。及至明(1368-1644)、清(1644-1911)時期，帝皇的袍服以至朝廷的文武官員穿著的服飾，都嚴格規定了以不同的鳥獸圖案以作官階、權位等級的識別。是次展覽精選了香港藝術館藏一百八十多項以各種鳥獸作紋飾和造型的文物，包括

象徵權力的龍鳳、喻意吉祥的蝠鼠、消災解禍的辟邪以至造形生動的家飼動物如貓、雞、羊等。藉著展出歷代的陶瓷、玉石、竹木雕塑、玻璃和金屬器物，探索及展示珍禽瑞獸等裝飾題材與造型，如何在中國傳統藝術、生活習俗、宗教儀式、神話傳說，以至思想文化中融合地發展。

3）帖學的世代 ─ 館藏書法作品選展期：2011年 8月 19日起

小時候，我們都寫過「習字帖」。原來臨帖學書法這種風氣，在中國已流行了逾千年，自宋代以來，臨帖便成為學習書法的必經之路，至明清時代，帖學更發展至高峰。時至今日，臨帖依然是學習書法的重要課題。 這股持續千年的臨帖學習風氣，主導了中國書法的發展方向，並形成了後世稱為「帖學」的傳統。是次展覽將展出館藏歷代名家書法，計有：趙孟頫、文徵明、董其昌、倪元璐、王鐸、王文治、劉墉、于右任及臺靜農，藉以反映千年以來臨帖風氣對書法發展的深遠影響展覽其間亦將舉行各種示範及教育活動。

2. 澳門藝術博物館山水正宗－－故宮、上博珍藏王時敏、王原祁及婁東派繪畫精品展展期：2011年 9月 7日至 11月 13日

今年，藝博館繼續推動明、清書畫研究的延伸和深化，得到故宮博物院、上海博物館借出珍藏，再度京、滬、澳三方聯手，帶來畫壇巨擘“清初四王”之書畫展覽。故宮、上博庋藏古代書畫甚豐，為能全面展示“四王”之書畫精品，故特將展覽分成兩部分，先後於二零一一年及二零一三年展出。兩展覽均舉辦相關的學術研討會，邀請近三十位海內外專家就此專題作深入的剖析和討論。

本年先以王時敏、王原祁祖孫二人及其門下之婁東派的書畫作品為核心，舉辦“山水正宗──故宮、上博珍藏王時敏、王原祁及婁東派畫精品展”，透過故宮、上博珍藏的一百二十件套繪畫精品，集中展示秉承宋、元正統的山水巨匠之藝術風範。

王時敏、王鑑、王翬和王原祁是清初四位極具影響力的畫家，並稱“四王”。他們之間有師友或親屬關係，在繪畫風尚和藝術思想上，直接或間接受董其昌影響。他們在藝術思想上的共同特點是倣古，把宋、元名家的筆法視為最高標準，這種思想因受到清帝的認可和提倡，因此被尊為“正宗”。“四王”以山水畫為主，各自畫風略有區別，又以師承關係，分為“婁東”與“虞山”兩派，影響後世三百餘年。

3. 中國故宮博物院 故宮藏歷代書畫展（第二期） 展期：2011年 09月 10日-11月 15日 陳列室：武英殿書畫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。

4. 廣東省博物館南國瓷珍—潮州窯瓷器精品薈萃展出時間：2011-9-1 至 2011-11-1展出地點：三層展廳一

5. 中國國家博物館中國古代陶瓷藝術展期：2011/3/26 - 9/26地点：北 17展厅此次展览分为青瓷、颜色釉瓷、青花瓷和彩绘瓷四个部分。青瓷是颜色釉瓷中最早出现、持续时间最长和最具东方艺术特色的瓷器；彩绘瓷中的青花瓷，直到今天仍是产量最大、最为有名的瓷器品种，所以我们将青瓷和青花瓷单列出来，作为展览的独立单元。相信广大观众在短时间内通过这百余件展品能了解各个瓷器品种的演变过程，并深入理解其历史内涵，较全面地欣赏我国古代瓷器的艺术魅力，得到美的享受。http://www.chnmuseum.cn/tabid/236/Default.aspx?ExhibitionLanguageID=61&ShowType=Antique

6.東京國立博物館

1）「空海と密教美術」展

展期： 2011年 7月 20日（水） ～ 2011年 9月 25日（日）

陳列室：平成館 特別展示室 密教の教えは奥深く、文筆で表し尽くすことはむずかしいので、図画を用いて教えを

広める、という言葉を空海は残しています。そのため真言密教では造形を重視しまし

た。この展覧会では、空海が唐から請来したもの、自筆の書、指導して造った仏像な

ど空海ゆかりの作品と、その思想的な息吹を色濃くとどめる時代の作品を中心に、真

言密教の名品の数々をご覧いただきます。

2）呉昌碩の書・画・印

平成館 企画展示室 2011年 9月 13日（火） ～ 2011年 11月 6日（日） 清時代の末期から民国の初期にかけて、書・画・印に妙腕をふるった呉昌碩(ごしょう

せき、1844～1927)は、清王朝 300 年の掉尾(ちょうび)を飾る文人です。初めの名を

俊(しゅん)、のちに俊卿(しゅんけい)といい、中年から用いた昌碩の名で広く知られ

ます。17 歳の時、太平天国の乱により一家は離散し、呉昌碩は華北・安徽に避難しま

す。22 歳で科挙の受験資格を得ますが、仕官を望まず、書画と篆刻で生活します。

56 歳のとき、安東県(江蘇省)の知事となるものの、一ヶ月で辞職し、生涯を在野で過

ごしました。

呉昌碩は、終生にわたって石鼓文(せっこぶん)の臨書(りんしょ)に励み、その風韻を

書・画・印に結実させました。一見すると不器用なまでの重厚な運筆の中に、キラリ

と光る輝きを持つ呉昌碩の作風は、日本にも多くの熱烈なファンがいます。台東区立

書道博物館との連携企画で、呉昌碩の書・画・印の魅力をお楽しみください。

7. 京都國立博物館

1） [特別展覧会]細川家の至宝─珠玉の永青文庫コレクション─

平成 23 年 10 月 8 日（土）～11 月 23 日（水・祝）

会場：特別展示館

東京・目白の永青文庫は、旧熊本藩主であった細川家の宝物を護り伝えるために設立

されました。歴代当主ゆかりの品々に、近代以降あらたに収集したものが加わり、総

数は８万点を超えます。そこから厳選された至宝の数々は、「文武両道」細川家の歴

史をまさに体現するものといえるでしょう。所蔵の中国絵画はこの会場だけ出陳され

ます。

2）[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。

8. 泉屋博古館

中国近代書画コレクション展

2011 年 9／3（土）～12／11（日）

展期：平成 23 年 9 月至 12 月

9. 黒川古文化研究所花鳥画展展期：平成 23年 10月中至 11月中

10. 大和文華館

1）中国美術コレクション展

展期：2011年 11/19（土）～12/25（日）大和文華館は国宝「雪中帰牧図」や「白磁蟠龍博山炉」を始めとして、中国美術の名

品を数多く所蔵しています。絵画、書蹟、陶磁、漆工、金工などの各分野から、精粋

の数々を一堂に展示します。

2）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。

3）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。

11. 澄懐堂美術館1）中国書画展展期：平成 23 年 9 月至 1２月

2）中国美術コレクション展

展期：平成 23年 11月底至 12月底12. 九州博物館

1）草原の王朝　契丹 - 美しき３人のプリンセス

展期：平成２３年６月１４日（火）起 陳列室：文化交流展示室　関連第９室 九州国立博物館が開館前から６年の歳月をかけて準備を進めてきた大型企画。唐滅亡

後の東アジアに輝いた契丹国の精華をご紹介します。２００年の長きにわたり栄えた

契丹の名は世界を駆けめぐり、中国を指す英語の「Cathay（キャセイ）」、ロシア語

の「Китай（キタイ）」として今も伝えられています。本展は契丹国を生きた３人の

女性に焦点をあてました。展示品の７割以上が日本初公開、期待の特別展です。

13. 大阪美術館1）中国書画Ⅰ－館蔵・寄託の優品　

展期：2011 年 9 月 16 日－10 月 16 日

大阪市立美術館の名を世界に知らしめている中国書画の作品群。今秋から来春にかけ

て、その主要作品を三期に分けて展覧を行う。「中国書画Ⅰ－館蔵・寄託の優品」で

は、阿部コレクション以外の館蔵品に、寺院や個人からの寄託品を含めた作品を紹介

する。

(伝)高然暉 山水図　蔣嵩 江山漁舟図鍾礼 山水図(伝)呂紀 柳葵図羅謙 魚藻図杜菫 山水図(伝)張路 李白観瀑図誠意 杏壇絃歌図陳継儒 梅花図米万鍾 法関仝意山水図卞文瑜 倣董北苑山水図劉栄嗣 行書王維詩曹学佺 行書五言律詩何吾騶 行書七言絶句郭振明 行書五言絶句王応華 行書五言律詩梁以樟 行書淇園作何元英 草書七言律詩黄晋良 行書五言律詩程淓 行書温庭筠詩孫承恩 草書七言律詩郭棻 行書飼鵰詩喬萊 行書五言律詩

劉度 山水図周碩膚 山水図冊方亨咸 長松飛瀑図査士標 秋景山水図沈嵓 山水図冊朱軒 山高水長図銭瑞徴 花鳥図王武 花卉図冊范廷鎮 青緑山水図冊高士奇 行書七言律詩高其佩 花鳥図冊馬荃 花卉図楊鯤挙 錦堂春昼図梁同書 行書文同墨竹語徐嶧 花鳥図朱棟 秋景山水図張崟 倣王翬山水図銭杜 墨梅図沈世傑 蓮池金魚図慈禧太后 瑶階福寿図米芾 草書四帖趙孟頫 墨竹図謝時中 漢高祖像

伊海 山水図李用雲 墨竹図鄭培 牡丹図費瀾 岩菊図費瀾 山水図方済 花鳥図方済 松鶴図費肇陽 山水図張崑 花卉図余崧 仙桃祝寿図江大来 蘭竹図陳熺 山水図馮鏡如 山水図徐溶 桃花魚図徐溶 寒山蕭寺図胡璋 木蘭従軍図王寅 楊柳山水図王寅 米法山水図羅清 墨竹図袁沛 渓橋聴瀑図程庭鷺 山水図冊費丹旭 花下弄璋図戴煕 桂林山水図冊

張熊 蒲塘秋艷図張熊 蟹図胡遠 蘭石図銭慧安 皆大歓喜図顧澐呉大澂 山水図冊題詩呉昌碩 梅花図呉淑娟 山居図黄山寿 竹石図

倪田 田家秋光図王震 枇杷図王震 雪景山水図張沢 竹林七賢図斉学裘 滴湖漁隱図張熊 花卉図冊胡遠 洞天一品図蒲華 雲根図呉昌碩 山水図陸恢 山塢雲帰図

鄭孝胥 墨松図方洺 雲横谷口図李鱓 墨竹図金農 墨竹図張元観 行書董其昌句呉昌碩 贈橋本関雪詩呉昌碩王震 倪元璐書贈黄道周詩軸跋康有為 楷書五言聯

2）中国書画Ⅱ－阿部コレクション　

展期：2011 年 10 月 20 日－11 月 23 日

「中国書画Ⅱ－阿部コレクション」では収蔵品の中核である阿部コレクションの精粋

を展示する。

（伝）李成・王暁

読碑窠石図（伝）郭忠恕 明皇避暑宮図燕文貴 江山楼観図胡舜臣蔡京

送郝玄明使秦書画合璧無名氏 秋江漁艇図米友仁 遠岫晴雲図夏圭 湖畔幽居図無名氏 古松楼閣図宋・理宗 行書白居易紫薇花無名氏 観瀑図(伝)馬和之 瀑辺遊鹿図無名氏 牧牛図（伝）張僧繇 五星二十八宿神形図（伝）王維 伏生授経図（伝）王維 護法天王図（伝）呉道玄 送子天王図蘇軾 行書李太白仙詩宮素然 明妃出塞図（伝）梁楷 十六応真図（伝）銭選 品茶図

倪瓚 疎林図倪瓚 渓亭秋色図方従義 太白瀧湫図無名氏 散牧図（伝）易元吉 聚猿図龔開 駿骨図鄭思肖 蘭図王淵 竹雀図唐寅 一枝春図蔣廷錫 藤花山雀図金廷標 春元瑞兆図徐賁 春雲畳峰図王紱 為密斎写山水図金湜 竹石図戴進 松岩蕭寺図沈周 菊花文禽図陳淳 松菊図仇英 九成宮図文嘉 琵琶行図徐渭 拝孝陵詩意図趙左 竹院逢僧図邢侗 拳石図董其昌 盤谷序書画合璧

張瑞図 抜嶂懸泉図 王建章 雲嶺水声図

黄道周 松石図倪元璐 文石図楊文驄 秋林遠岫図邵彌 雲山平遠図王鐸 書画合璧王時敏 墨筆山水図祁豸佳 山窓寄傲図傅山 断崖飛帆図毛奇齢 看竹図八大山人 彩筆山水図王翬 倣李営丘江山雪霽図

惲寿平 花卉図冊石濤 東坡時序詩意図冊高其佩 天保九如図華嵒 秋声賦意図高鳳翰 草堂芸菊図高鳳翰 山水花卉図冊李鱓 風荷図黄慎 仙子漁者図銭杜 虞山草堂歩月詩意図湯貽汾 萩廬問字図

3）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。

14. 島根県立古代出雲歴史博物館特別展「観音巡礼」-中国路の古寺と仏像 中国観音霊場会開創 30周年記念

会期：２０１１年７月２２日（金）～９月２５日（日）

会期中の休館日：８月１６日（火）、９月２０日（火）

開館時間：午前９時～午後６時 会場：島根県立古代出雲歴史博物館　特別展示室 主催：島根県立古代出雲歴史博物館、中国新聞社 特別協力：中国観音霊場会 http://www.izm.ed.jp/cms/cms.php?mode=v&id=175

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 LandscapesJuly 2, 2011–January 8, 2012View paintings of Chinese flowers native to each season.Japanese ScreensAnd July 9, 2011–January 22, 2012Two rotations highlight screens painted to represent various times of year.

Arts of JapanSeptember 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）Family Matters: Portraits from the Qing CourtJune 11, 2011–January 16, 2012Sixteen paintings of emperors, empresses, princes, and princesses represent three generations of the Qing dynasty imperial family, from the early to mid-eighteenth century. Almost evenly divided between images of men and women, the portraits—some nearly life-size—show the royal family members dressed in either the elaborate formal robes required for attendance at court or more casual attire at moments of leisure. The women are generally depicted wearing sumptuous embroidered robes and

fabulous jewelry made of gold and pearls or inlaid with dazzling turquoise kingfisher feathers. The men are shown riding horses, relaxing in a garden or boat, meditating quietly with rosary beads, or seated in a formal setting among their favorite possessions.

2. Art Museum, Princeton UniversityWhen Men and Mountains Meet: China as Land and Peoplehttp://artmuseum.princeton.edu/events/WhenMenandMountainsMeet/What is the relationship between land and people in China, and how has it changed throughout the ages? Mountains as towering peaks bringing man close to the heavens, or as earthen ranges marking “dragon veins,” serve as the geography in which human beings live and roam. Some mountains are sacred sites; others are barriers that constrain human movement and communication. Some are locations for meditation and solitude or fearsome wilderness fi lled with demons and monsters. The exhibition explores this relationship and how Chinese experiences and notions of mountains accord with artistic representations and aesthetic perceptions of actual or idealized landscapes. In traditional China, it is said that people lived in balance with the unpredictable forces of nature and the manufactured order of civilization. In this sense, cultural development can be viewed as a struggle to impose order on the world of mountains and streams. The early twentieth century in China was an era of cultural, social, and political turmoil during which the characterization of man’s past balance between land and culture was likened to a verse by the English poet and artist William Blake (1757–1827): “Great things are done when Men and Mountains meet / This is not done by Jostling in the Street.” Champions of modernization, progress, and reform in China, by contrast, called for a new approach to the land and to the world. They reversed Blake’s line to read: “Great things are done by Jostling in the Street / This is not done when Men and Mountains meet”—expressing that mankind can dominate nature and control its own destiny through science, reason, hard work, and perseverance. The traditional values of a balanced landscape became a casualty of this revolution in culture.The exhibition will be shown in two areas of the Asian galleries. One area will display traditional paintings of a past where “Men and Mountains Meet.” The expressive brevity of Shitao’s (1642–1707) Echo, for example, engages the viewer in an intimate dialogue with lonely mountains. The artist’s calligraphy quotes a couplet by the noted Song dynasty poet and

calligrapher Su Shi (1036–1101): “An echo rebounds with every whisper / Startling, on the empty mountain, the white cloud.” The images in the second area will illustrate the relationship between land and people, where progress is characterized by “Jostling in the Street.” In the photograph of the performance piece To Add One Meter to an Anonymous Mountain (1995), the era of cultural revolution and progress through the conquest of nature is satirically called into question with an image of piled human bodies bonding with a mountaintop. The image recalls the ancient tale “Foolish Old Man Moving Mountains,” which was a model of the triumph of human perseverance over nature for many of China’s twentieth-century leaders, including Sun Yat-sen and Mao Zedong.

3. The Metropolitan Museum of Art1）Tibetan Arms and Armor from the Permanent Collection

Through fall 20111st floor, Arthur Ochs Sulzberger GalleryThis installation presents approximately forty highlights from the Museum's extensive permanent collection of rare and exquisitely decorated armor, weapons, and equestrian equipment from Tibet and related areas of Mongolia and China, dating from the eighth to the twentieth century. Included are several recent acquisitions that have never before been exhibited or published.

2）The Art of Dissent in 17th-Century China: Masterpieces of Ming Loyalist Art from the Chih Lo Lou CollectionSeptember 7, 2011–January 2, 2012Galleries for Chinese Painting and Calligraphy, 2nd floorThe collapse of the Ming dynasty (1368–1644) and subsequent conquest of China by semi-nomadic Manchu tribesmen from northeast of the Great Wall comprised some of the most traumatic events in Chinese history. This wrenching era also spurred an enormous outpouring of creative energy as many former Ming subjects turned to the arts to express their loyalty to the noble but doomed cause of Ming restoration and to assert their defiance and moral virtue. Drawn from one of the finest and most comprehensive private assemblages of the art of the Ming-Qing transition, this exhibition will showcase more than sixty landscape paintings and calligraphies that highlight the intensely personal styles created by the leading artists of that time. Particularly noteworthy are the clusters of exceptional works by Huang Daozhou, Hongren, Bada Shanren

(Zhu Da), and Shitao.The Manchu conquest followed several decades of political weakness at the Ming court that had left large portions of the country in chaos. When the capital in Beijing fell to a Chinese bandit army in 1644, Manchu forces poised along the Great Wall routed the rebels but then continued their march southward. After crushing Ming resistance in the city of Yangzhou, which was burned for ten days as an example, the southern capital of Nanjing surrendered, but it took another forty years to suppress various Ming claimants to the throne and to quell armed rebellions in the south.During this time, many former Ming subjects maintained their loyalty to the fallen regime by refusing service under the Manchu Qing ("pure") dynasty (1644–1911). To endure the often harsh conditions of alien rule, these so-called leftover subjects took psychological as well as physical refuge in nature, and their representations of landscape often project their emotional responses to this radically changed world order. In transforming painting and calligraphy into vehicles for self-expression, they demonstrated a remarkable independence from traditional styles and techniques. For this reason, they have been celebrated as visionary individualists, whose styles have remained influential down to the present day.In order to provide an appropriate aesthetic and intellectual context for the material, the exhibition will be organized into five thematic or regional groupings: Ming Martyrs; The Yellow Mountain and Nanjing Regional Schools; Guangdong Artists; Monk Painters; and Jiangsu and Zhejiang Artists.The works featured in the exhibition were collected in the 1950s and 1960s by the late Hong Kong collector Ho Iu-kwong (He Yaoguang, 1907–2006), who named his studio the Chih Lo Lou or "Hall of Supreme Bliss." The collection is now held in a nonprofit public entity administered by Mr. Ho's descendants.

4. HONOLULU ACADEMY Masterpieces of Landscape Painting from the Forbidden City Nov. 3, 2011-Jan. 8, 2012Exquisite 700-year-old brush paintings that changed Chinese painting forever leave China for the first timehttp://honoluluacademy.org

HONOLULU, HAWAI'I—After more than a year of planning and organizing with the Palace Museum in Beijing, the Honolulu Academy of Arts presents the collaborative exhibition Masterpieces of Landscape Painting from the Forbidden City.The landmark exhibition is inspired by the goal of the Asia-Pacific Economic Cooperation Leaders Summit (APEC), being held concurrently in Honolulu Nov. 8-13, to encourage cooperation among the nations of the Pacific region. This art-world example of Asian-Pacific cooperation is co-curated by Dr. Shawn Eichman, Curator of Asian Art at the Academy, and Drs. Li Shi and Fu Dongguang from the Paintings and Calligraphy Department of the Palace Museum. The exhibition includes 56 paintings from the Palace Museum, which has the largest collection of Chinese paintings in the world, and 20 paintings from the renowned collection of the Honolulu Academy of Arts. Together, these works reveal a painting revolution that happened in China during the 13th and 14th centuries, and forever changed the course of the arts, with its influence still felt today.At the heart of the exhibition is a group of rare, early works by the four most influential artists of the Yuan dynasty (1271-1368), known as "the four Masters of Yuan Dynasty Painting"— Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng.  

These works have never before been allowed to travel outside China, and are not regularly displayed in the Palace Museum. Similarly, this will be the first time that any of the exhibition's later Ming (1368-1644) and Qing (1644-1911) dynasty paintings from the Palace Museum will be included in an international exhibition.The Four Masters are among the most revered artists in Chinese history. They are paragons of the scholar-amateur or "literati" style that characterizes the highest ideals of Chinese painting, and represents a quintessential aspect of Chinese culture. Masterpieces of Landscape Painting From the Forbidden City showcases paintings by these iconic artists and explores their influence on later generations.The Yuan dynasty marks the first time China was invaded and ruled by a foreign power—the Mongols. (The Manchus later also took over the country.) The political and social changes of this tumultuous time led to the Four Masters' groundbreaking artistic vision. They developed a new way of seeing the natural world, and their artistic expression is in many ways reminiscent of Impressionism, although it precedes the Impressionists by five centuries. Free of the restrictions of court patronage, Chinese artists

at the time were no longer dominated by academic tradition and could put more of themselves into their work.

演講:1. 「漢學視野中的文學藝術與物質文化」臺北學術系列沙龍之五－晚清海外遊記與物質文化時間： 2011年 9月 30日（週五）15:00-17:30 地點 ：國家圖書館 188會議室（臺北市中山南路 20號） 主辦單位： 國家圖書館漢學研究中心、國科會「文學藝術與物質文化」整合型研究計畫、國立清華大學「漢學的典範轉移」兩岸清華合作研究計畫 相關網址 ：http://ccs.ncl.edu.tw/ccs_detail.aspx?sn=47 聯絡人會議助理電郵信箱：nthu1109@gmail.com 內容簡介： 【沙龍議題：晚清海外遊記與物質文化】主持人：陳玨（國立清華大學中國文學系暨歷史研究所教授、國科會「文學藝術與物質文化」整合型研究計畫主持人）演講人：Faederica Casalin（費琳，羅馬大學東方學系研究員）講題：論《小方壺齋輿地叢鈔》中「異己」的形象：以十九世紀的義大利為例演講人：陳室如（國立臺灣師範大學國文系助理教授）講題：博物．異想．跨界──王韜《漫遊隨錄圖記》的物質書寫講評人：巫仁恕（中央研究院近代史研究所副研究員）研討會：1. 山水正宗──王時敏、王原祁及婁東派繪畫學術研討會日期：07–09/09/2011 (星期三至五)地點：澳門新口岸冼星海大馬路 澳門文化中心一樓會議室民政總署轄下澳門藝術博物館為推動明、清書畫研究的延伸和深化，與故宮博物院、上海博物館於九月至十一月合辦“山水正宗──故宮、上博珍藏王時敏、王原祁及婁東派繪畫精品展”。透過故宮、上博珍藏的一百二十件套繪畫精品，集中展示秉承宋、元正統的山水巨匠之藝術風範，在讓藝術愛好者大飽眼福之餘，相信亦能促進對“二王”及相關繪畫流派的深入研究。為推動澳門學術研究風氣，澳門藝術博物館與澳門基金會合辦 “山水正宗──王時敏、王原祁及婁東派繪畫學術研討會"，於九月七日至九日假澳門文化中心一樓會議室舉行，一連三日的研討會邀請近三十位海內外專家就此展覽專題作深入的剖析和討論。研討會先由上海博物館書畫研究部主任、研究員單國霖，故宮博物院研究館員蕭燕翼，中央美術學院教授薛永年，以及前臺北故宮博物院書畫處處長王耀庭等專家發表專題報告，深入探究主題；其後再由學者就主題進行研討。研討會開放公眾旁聽，費用全免，名額有限，先到先得。又，研討會期間將八折特價發售精選之藝博館出版物及藝術紀念品，歡迎公眾到會場選購。專題報告：07/09/2011（星期三）09:00-13:00 專題研討：08－09/09/2011 (星期四至五) 09:30-12:30, 14:30-18:30

章程及表格：http://www.artmuseum.gov.mo/activities/act442.pdf

2. "Bon, Shangshung, and Early Tibet" School of Oriental and African Studies University of London 9-10 September 2011 The Bon religion of Tibet sees itself as the region's pre-Buddhist religion, originating from the kingdom of Shangshung in what is now western Tibet. The earliest Tibetan documents preserved at Dunhuang mention both Bon and Shangshung, but these documents can be difficult to date and even harder to interpret. The methodologies of archaeology, genetics, and historical linguistics have the potential to shed light on Tibet's prehistory, but they have so far been little employed.

In 1950 the School of Oriental and African Studies became the first institution of higher education in the United Kingdom to host a permanent academic position in Tibetan studies. In 1960, when Bonpo monks came to SOAS under the auspices of a Rockefeller grant, SOAS became the first institution of higher education in the West to prominently engage in research on the Bon religion. Bringing together 25 of the world's most prominent researchers of the Bon religion and early Tibet, this conference will honour the tradition of Tibetan and Bon studies at SOAS, and celebrate the founding in 2009 of the London Shangshung Institute for Tibetan Studies. - Mark Aldenderfer (University of California, Merced), "Variation in mortuary practice in pre-Buddhist Tibet and the High Himalayas" - Dmitry Ermakov (Independent Scholar), "Bon as a multifaceted phenomenon – looking beyond Tibet to the cultural and religious traditions of Eurasia" - Amy Heller (Centre de recherche sur les civilisations de l'asie orientale, CNRS Paris), "On silver and gold vessels from Tibet and their inscriptions"

3. 「異國奇珍：清宮之舶來品與皇權工作坊」議程表9:00-9:20報到

9:20-9:30 開幕致詞時間/場次 主講人 講題 評論人

9:30-10:30 羅文華（北京故宮博物院宮廷歷史部宗教科館員）

來自喜瑪拉雅的聖物——清宮梵像的多層次觀察

賴惠敏（中研院近史所）

茶敘 10:30-10:50

10:50-11:50 賴惠敏（中央研究院近代史研究所）

清宮的俄羅斯舶來品，1755-1850 巫仁恕（中研院近史所）

11:50-13:00 午餐13:00-14:00 施靜菲（國立台灣大

學藝術史研究所）清宮多寶格中的舶來品 陳國棟（中研院

史語所）14:00-15:00 王正華（中研院近史

所）Global and Local: Western Elements

in Eighteenth Century Chinese

Cityscapes

陳慧宏 (國立台灣大學)

15:00-15:20 茶敘15:20-16:20 賴毓芝（中研院近史

所）乾隆朝《獸譜》中所涵攝之歐洲動物圖像與知識

梅韻秋（國立清華大學通識中心）

16:20-17:20 Greg M. Thomas

(Dept. of Fine Arts,

Hong Kong

University)

Courting China: Qing Arts in

European Palaces謝佳娟（國立中央大學藝術學研究所）

17:20-17:40綜合圓桌討論時間：2011年 9月 23日（五）

地點：中研院近史所檔案館一樓中型會議室

4. PAPER FROM THE EASTThe second Chinese Heritage Conference Friday 7th October 2011, 9.00am-5.15pmAt the National Maritime Museum, Greenwich London中国文化遗产保护系列研讨会 2： 纸系东来， 2011年 10月 7日大英国家海事博物馆China Culture Connect, Artability Art & Collection Ltd in association with the National Maritime MuseumTickets: Full £99 Student £75 inclusive of lunch and refreshment****Early Bird Full £87 Student £70 until 6th September 2011Delegates will also be given a talk on the new NMM exhibition ‘ Traders: the East India Company and Asia’ and have the opportunity to visit the new Traders Gallery and the Sammy Ofer WingRegister now: artability.art@googlemail.com

Programme at the Lecture Theatre of the National Maritime Museum

Time 7th Subject Speaker

October 9.00am-9.30am Registrati

on9.30am- 9.45am

Introduction

Welcome and introduction

Dr Margarette Lincoln, Deputy Director of the National Maritime MuseumVelson Horie and Xuhua Zhan

9.45am – 10.15am

Talk 1 Conservation and preparation of objects for the Traders Gallery

Birthe Christensen

10.20am-10.50am

Talk 2 Korean Paper, Hanji, Its History, Technique and Properties

Minah Song

10.55am-11.05am

Special talk

Technical Developments in Glazing for Friable and Fragile Collections

Julie Heath (Tru V ue)

11.10am- 11.30am

Tea Break

11.30am-12.00pm

Talk 3 The Papermaker’s Mould in Middle-Eastern Papermaking: An Aid for the Classification of Papers

Helen Loveday

12.05pm-12.35pm

Talk 4 Funori, a Consolidation Method for Chinese Wallpapers

Susan Catcher

12.40pm-12.50pm

Introduction of the new Traders Gallery

Dr John McAleer

12.50pm-14.20pm

Lunch Lunch at the Queen’s House Orangery and Parlours

Delegates can visit the new Traders gallery

14.20pm-14.50pm

Talk 5 Chinese paintings on Pith – Problems and Conservation

Ruth Prosser

14.55pm-15.25pm

Talk 6 Japanese Paper for Art and Conservation

Megumi Mizumura

15.30pm-15.50pm

Tea Break

15.50pm-16.20pm

Talk 7 Origins and Typology of Chinese and Tibetan Manuscripts from Dunhuang

Dr Agniezka Helman-Wazny

16.25pm-16.55pm

Talk 8 The Coming of Asian Papers to America

Sidney Berger

17.00m- 17.15pm

TBC Chinese Paper Making Documentary Short Film

Speakers Sidney E Berger – Librarian, Peabody Essex Museum

Susan Catcher – Senior Paper Conservator, Victoria & Albert Museum

Birthe Christensen – Head of Conservation & Preservation, National Maritime Museum

Dr Agniezka Helman-Wazny – Paper conservator and manuscriptologist, University of Hamburg and Cornell University

Helen Loveday – Independent paper conservator

Dr John McAleer – Curator of 18 Century Imperial & Maritime History, National Maritime Museum

Megumi Mizumura – Paper conservator, paper making specialist, British Museum

Ruth Prosser – Independent paper conservator, pith paper specialist

Minah Song – Paper conservator, Conservation Center for Art and Historic Artifacts (CCAHA)

5. 関西中国書画コレクション展開催記念 国際シンポジウム

関西中国書画コレクションの過去と未来─収集から一世紀、その意義を考える─

2011 年 10 月 22 日(土)・23 日(日)

泉屋博古館 講堂

本年は、中国の政治・社会・文化の構造を大きく変えた 1911 年の辛亥革命から

100 年という節目の年にあたります。清朝崩壊を導いたこの民主革命は、中国美術が

世界的に収集される契機となり、日本でも、北宋山水画や明清文人画の優品が、京都

学派の学者たちの斡旋を得て、中国文化に理解のある関西の政財界人のコレクション

に加わりました。

これらのコレクションを受け継ぐ関西の 9 つの博物館・美術館では、本年初めか

ら来年 2 月まで、「関西中国書画コレクション展」と銘打った、リレー形式の関連展

示を行っております。そして、このたび、同展を記念して国際シンポジウムを開催

するはこびとなりました。関西における中国書画コレクションの歴史的意義やそれ

にまつわる文化交流を検証し、関西以外の地域や世界各地に収蔵される中国書画コレ

クションの、過去と現在、そして未来を考える場としたいと思います。みなさまの

ご参加を心よりお待ち申し上げております。

10 月 22 日（土）

10: 30～10: 40 開会にあたって

開会の辞 西上実（京都国立博物館）

会場館挨拶 小南一郎（泉屋博古館） 10: 40～11: 30 基調講演

近代における関西の中国書画コレクション 曽布川寛（京都大学名誉教授）

12: 30～13: 50 パネル 1 関西に流入する中国書画―コレクターとその周辺 司会：味岡義人

（渋谷区立松濤美術館）

阿部房次郎の蒐集をめぐって 弓野隆之（大阪市立美術館）

完顔景賢のコレクションについて 下田章平（茨城県立水戸第二高等学校）

大正期中国書画収集の指南役としての内藤湖南―その見識と実践 陶徳民（関西大学）

14: 10～15: 40 パネル 2 日本における中国書画コレクションの諸相―比較の視点から 司

会：味岡義人

日本近代における文人文化熱とその消長―財閥の美術蒐集を軸に 宮崎法子（実践女子大

学）

槐安コレクションと聴氷閣コレクション―高島菊次郎と三井高堅 富田淳（東京国立博物

館）

幕末期における東アジア絵画コレクションの史的位置―近代との比較 板倉聖哲（東京大

学）

15: 40～16: 30 総合討論 司会：宇佐美文理（京都大学） ※終了後、白沙村荘橋本関雪記念館にて懇親会を予定しております。

10 月 23 日（日）

10: 30～12: 25 パネル 3 台湾、香港における中国書画コレクション 司会：塚本麿充（東京

国立博物館）

台北故宮における近現代書画の収蔵 陳階晋（国立故宮博物院）

文物館の収蔵品に見る香港の中国書画コレクション

―簡氏斑園と利氏北山堂を例に 李志綱（香港中文大学文物館）☆

［特別講演］収蔵家の責任―私の中国書画収蔵の道のり 石允文（中国書画収蔵家）☆

13: 25～14: 45 パネル 4 欧米に広がる中国書画コレクション 司会：塚本麿充

アメリカの美術館の中国絵画収集におけるジョン・C・ファーガソンの活躍 Lara

Netting（メトロポリタン美術館）★

ベルリンの中国絵画コレクション―過去、現在、未来 王静霊（ベルリン自由大学）☆

15: 05～15: 45 パネル 5 名品が語る中国書画コレクション 司会：塚本麿充

収蔵来歴からみた（伝）董源「寒林重汀図」の史的意義 竹浪遠（黒川古文化研究所）

「安晩帖」をめぐって―日本における八大山人の受容と鑑賞 実方葉子（泉屋博古館）

15: 45～16: 30 総合討論 司会：西上実 ［定 員］ 60 名（事前申込制、多数の場合は抽選）

［参 加 費］ 1500円（事前振込）※泉屋博古館の入館料含む。

［申込方法］ 下記のシンポジウム事務局宛にメール・FAX・往復はがきにて、郵便番号、

住所、名前、電話番号、FAX番号、メールアドレス、参加日（両日・22 日のみ・23 日の

み）をお知らせく ださい。※個人情報は本シンポジウム運営のためのみに使用させてい

ただきます。

［申込期間］ 9月 1日（木）～9月 17日（土）必着 ［申込・問い合わせ先］

〒606-8431 京都市左京区鹿ヶ谷下宮ノ前町 24 泉屋博古館内 シンポジウム事務局

TEL:075-771-6454 FAX: 075-771-6099 E-mail: symposium@kansai-chinese-art.net

6. Chinese Art: Translation, Adaptation and Modalities University of Edinburgh , 27-28 October 2011This conference on Chinese art and translation is inspired by the radically new journal Art in Translation (AIT) and its dual mission, which consists in challenging the boundaries of conventional art history as practiced in > Europe and North America , and stimulating thinking about the problems and paradoxes of translation within the art historical discourse.27 October, 5.15pmKey note address: Roderick Whitfield, University of London SOAS Art in Translation: When Buddhism Came to China28 October, 9.30am – 6.00pmSession 1: Why Translate?• Puay-Peng Ho, The Chinese University of Hong Kong : Mind the Gap: Will More Translated Works in the Field of Chinese Architectural History Help?• Michael Nylan, University of California-Berkeley : Heritage Issues in Translation: Convergent Preoccupations in Chinese and Western Scholarship• Chia-Ling Yang, University of Edinburgh : Archaic Art and Translated Modernity in ChinaSession 2: Exotic China , Exotic West • Youngsook Pak, University of London SOAS: Chaekkori – Chaekkori – aChos Conundrum –• Yuka Kadoi, Art Institute of Chicago : China in Islamic Art: Centuries of Translations

• Alain George, University of Edinburgh : Chinese Art and the Islamic World: An Experiment in Longue Durée • Hsueh-Man Shen , New York University: ‘Dragon’ or ‘Long’ in Chinese ArtFor a detailed programme and abstracts, see www.artintranslation.org (see ‘events’)Fees: £30 per delegate (£15 concessions) include reception (day 1), tea/coffee, lunch (day 2).Registration online: via www.artintranslation.org (see ‘events’)Venues: School of Arts , Culture and Environment, 20 Chambers Street ,Edinburgh EH1 1JZ (day 1) Teviot Row, 13 Bristo Square , Edinburgh EH8 9AJ (day 2)

網頁1. Films on internet: lectures by Professor James CahillTo: All my Correspondents—Friends, Colleagues, and People I Don’t Even Know (I’m copying others’ address lists to give this message the widest possible circulation):This is James Cahill sending you what I believe to be an extremely important announcement: please read on. I am at last able to announce the availability for free viewing on the web of the project to which I have devoted much of my time and energies over the past two years: a series of video-recorded lectures on early Chinese painting, especially landscape, from its beginnings to the end of the Song dynasty. Titled A Pure and Remote View: Visualizing Early Chinese Landscape Painting, these comprise twelve lectures, some in several parts, running altogether to some thirty-five hours (with Postludes, more like forty) and displaying more than two thousand images, mostly the wholes and details of Chinese paintings. The first seven lectures have now been posted on the web (see below) for free viewing. I hope you will find time to watch some of this--and, if you find it worthwhile, will tell your students and friends about it. Many of you know that I have in recent years gone about publicly regretting not having written the book on early Chinese painting that I deeply believe we need: a strongly visual, old-style history of a kind that my younger colleagues mostly are disinclined to undertake--because, their Theory tells them, no serious scholar writes “narrative art history” any more. I was one of those who carried out, in the 1960s-70s, large-scale photographing and cataloguing projects that made us in principle able to write such a history--but nobody wrote it. I lamented that situation in a much-quoted metaphor as being “as if we had abandoned the practice of architecture before we had built our city.” I am too old, and no longer have access to the kind of facilities and help I would

need, to write the book. But this video series, undertaken with the expert collaboration of Rand Chatterjee of Chatterbox Films, has proven to have strengths of a kind that no book could offer. How important is the subject, and the absence of any comprehensive art-historical account of it? In the opening lecture I quote, and amend slightly, words of the late Sir Ernst Gombrich about how “only twice on this globe, , , have artists striven systematically, through a succession of generations, step by step to approximate their images to the visible world and achieve likenesses that might deceive the eye." The two traditions that really fit this pattern, I argue (and convinced Gombrich of this during several days we spent together late in his life), and the only two in all of world art that do fit it (leaving aside one of Gombrich’s and adding one), are: European painting of the Renaissance-and-after, and Chinese painting from its beginnings through Song. Histories of the former would fill a library; for the latter, there are none. Not one truly comprehensive and adequate Gombrich-style history. Now: How can you access these lectures on the web?  You will have two choices.  The Institute of East Asian Studies (IEAS) at the University of California, Berkeley, our official sponsor, has recently redesigned their web site and is incorporating on it our video lecture series, as the lectures are finished: the first seven, through the Five Dynasties period, will be posted first, with others to follow soon.  Each lecture appears in a selectable pop-up window in a high definition format 1280 pixels wide by 720 high, enough to fill your screen with good color and clarity. Several thousand digital images of paintings, including lots of close-up details, will be included in the series, animated through the skills of Rand Chatterjee.  These videos are linked from YouTube University , are in Flash video format, and can be seen from this page:http://ieas.berkeley.edu/publications/aparv.htmlFor now, however (as of 3/28/11), the IEAS website still needs some reworking, which cannot be done for some days. So I am making the lectures available in advance, especially to those who plan to attend the AAS meetings in Honolulu and our session there (see below), on my own website:http://www.jamescahill.info.  In future, this will send you to the IEAS website; for now and for a limited time, it opens the first seven lectures to you for interim viewing.A lot else will also be newly accessible on my new website; those of you who are interested are advised to watch that site, and read my blogs. “Lecture handouts,” outline texts of what I say, along with identifications of all the

works shown, will also be posted there; more carefully edited versions of the same, with Chinese characters for those who want them, will be accessible on the IEAS website.We also intend to make the lectures available on sets of disks. The lectures were produced in the highest high definition video format available, a full 1920 by 1080 pixels, over twice the resolution of the versions released on the web.  We plan to release the entire series on both BluRay and old-style DVDs in boxed sets; these will be distributed by IEAS at Berkeley and sold inexpensively, since this is an entirely non-profit project. The 1080P version will not only be in the best possible video format, it will also have chapter titles to help find and identify each painting.  The disks will also make all of the images shown available as still images in resolutions as high as 15 megapixels; this resource will greatly facilitate new research and interpretation of Chinese painting through use of this unique and comprehensive collection of digital images. Please send word to Kate Chouta at IEAS, ieaseditor@berkeley.edu, if you might be interested in ordering this series on high definition BluRay disks.  Please also let her know if standard definition DVDs would be sufficient for your needs, and we will endeavor to make these available as well.I welcome responses to this message, although I won’t be able to respond individually to more than a few. Let me close by expressing again the hope that you will find the video-recorded lectures interesting and educational, and that you will not only watch them but also recommend them to friends and students.Yours, James Cahill

2. 關西書畫研究會http://www.kansai-chinese-art.net/