Navigation auf uzh.ch
Navigation auf uzh.ch
Lecture:
A Promising Market and a Rival Industry: Swiss Watchmakers in Japan,
1860-1930
Prof. Dr. Pierre-Yves Donzé (Osaka University)
Saturday, 27th November 2021, 13:15–14:45 (Zurich / UTC+1)
Online lecture (Zoom) Join
Watchmaking has been at the core of relations between Switzerland and Japan since the end of the Edo period. Watch merchants from Neuchâtel were among the first Swiss citizens to settle in Yokohama, opening a new market in East Asia. However, Japan was not only a growing outlet but also a nation that built its own watch industry, mostly based on two main companies (Seiko and Citizen). This lecture will hence discuss two main aspects of relations concerning the watch trade of the two countries between the 1860s and the 1930s: sales activities (the import and distribution of watches by Swiss merchants) and industrial relations (technology transfer from Switzerland and the investment of Swiss watchmakers in Japanese firms).
Prof. Dr. Pierre-Yves Donzé was born in La Chaux-de-Fonds and studied History at the University of Neuchâtel, where he received his PhD in 2005. He is a Professor of Business History at Osaka University since 2015 and Visiting Professor at the University of Fribourg. He has published numerous books and articles on the history of global business in a broad range of industries (including watches, fashion and luxury, food, and medical devices). Website: https://sites.google.com/view/donze/home
This lecture will be held in English.
This event is generously supported by the Swiss-Japanese Society of Switzerland and the Swiss-Japanese Chamber of Commerce.
Vortrag:
Beyond Business. The Friendship Between the Yokohama Traders Hermann Siber (1842–1918) and Furukawa Ichibé (1832–1903)
Prof. Dr. Alexis Schwarzenbach (CEO, filanda della storia GmbH)
Thursday, 25th November 2021, 18:15–19:45 (Zurich / UTC+1)
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This lecture examines the networks of the Zurich raw silk trader Hermann Siber (1842–1918). From 1866, together with Caspar Brennwald, he established one of the first Swiss trading houses in Japan, which later became SiberHegner and which eventually became part of the trading giant DKSH. The lecture draws on Siber’s correspondence with his Zurich-based brother, a previously unexplored set of sources providing insight into Hermann Siber’s complex relationships with both Europeans and Asians. The lecture argues that in addition to the networks of family capitalism, friendships were of central importance in order to establish a transcontinental trading house in the 19th century. This will be explored using the example of Hermann Siber’s relationship with the Japanese entrepreneur Furukawa Ichibé (1832–1903), the founder of the Furukawa Group.
Alexis Schwarzenbach (* 1971 in Zurich) is a historian, author, and curator. He read Modern History at Balliol College in Oxford and obtained his PhD at the European University Institute in Florence in 1997. His research, books, and exhibitions focus on 19th and 20th century Europe with a special focus on cultural history and transnational entanglements. From 2009 to 2011 he was Senior Curator at the Swiss National Museum in Zurich. In 2015 he became a professor at the Lucerne University of Applied Sciences and Art. He lives in Zurich where he founded the history studio filanda della storia in 2021. His forthcoming book is a history of the Zurich silk industry, which will be published in German and English in 2023.
This lecture will be held in English.
This event is generously supported by the Swiss-Japanese Society of Switzerland and the Swiss-Japanese Chamber of Commerce.
Tour:
A Walk through Time and Space with the Art of Harald Naegeli
Thursday, 11th November 2021, 16:00-18:00
Meeting Point: Main entrance of the main UZH building (Rämistrasse 71)
Join us for a tour by Anna-Barbara Neumann, the curator of the Harald Naegeli Atelier. She will take interested persons on a walking tour to see the art of Harald Naegeli, first through actual objects in the city near the university and then to the exhibition of his works at the Musée Visionnaire. Harald Naegeli is known as the controversial ‘Sprayer of Zurich” and is widely known as one of the first graffiti artists of modern times. What is little known is that he has a large collection of Japanese and Chinese prints and paintings and that he thinks of Hokusai’s drawings as one of the inspirations for his art.
Please sign up your name on the KGOA Doodle for participation.
Naegeli tour program (PDF, 352 KB)
12th Kansai University EU Workshop
21–22 October 2021, 9:30-13:30 (both days)
The KU & EU Workshop will take place online. Please use the following link to join:
No registration is required. For full programme details, see here.
Conference of the European Association of Asian Art and Archaeology (EAAA)
Online panels: 5th October – 30th November
This year, the EAAA will be hosting a number of online panels. The talks will begin on Tuesday, 5 October 2021 at 13:00 (CEST) and will take place at the same time each week until the last panel on 30 November 2021.
The topics of the panel discussions are diverse and cross-cultural as they discuss different aspects in different regions of Asia, hopefully contributing to a comprehensive understanding of the wider spread of certain ideas, notions and concepts. Broader topics include Buddhist art, painting, printing, photography, architecture, and iconography. Several panels also address the collecting and preservation of Asian art in museums around the world. Presentations will be given by senior and junior scholars and will provide a platform for the exchange of ideas between people with different approaches, experiences and backgrounds.
All panels and individual presentations were submitted for the 3rd EAAA conference, which was postponed to 2023 due to the Covid -19 pandemic. Many accepted applicants have agreed to present their research in a slightly different format as an EAAA online event. We are grateful to all for presenting their research at the online event.
To participate in the panels as a speaker and/or audience member, please register using the links provided with each weekly panel.
The full programme and links to register for attending can be found on the
EAAA website
Vortrag:
Texte und Illustrationen zu Grimm'schen Märchen in der Meiji- und Taishō-Zeit
Prof. Dr. Hiroko Nishiguchi (Waseda University)
Freitag, 1. Oktober 2021, 14:15–15:15
Online lecture (Zoom) Join
In Japan erfreuen sich die Grimm’schen Märchen großer Beliebtheit. Heute gibt es neben zahlreichen Übersetzungen auch Mangas und andere kuriose Bearbeitungen. Jedoch begann die Geschichte derer Rezeption im Vergleich zu den europäischen Ländern sehr spät, erst in der Meiji-Zeit. In den frühen Übersetzungen findet man nicht nur in den Texten, sondern auch in den Illustrationen viele Modifikationen gegenüber dem Ursprungstext. Wegen der ca. 200-jährigen Abschottungspolitik fehlten Kenntnisse vom Ausland. Dies machte nach der Öffnung des Landes die Begegnungen mit den westlichen Kulturen ausgesprochen spannend; außerdem war das Verlangen nach westlichem Wissen groß. Folglich entstanden sowohl im technischen als auch im kulturellen Bereich viele Übersetzungen.
Im Vortrag wird auf die frühen Illustrationen aus der Meiji- und Taishō- Zeit (1912–1926) fokussiert, weil in diesem Zeitraum die interessantesten bildlichen Darstellungen geschaffen wurden.
Die frühen Illustrationen sind entweder japanisch oder europäisch geprägt. In den japanisch geprägten Illustrationen tragen die Figuren im Text und Bild Kimono, statt im Bett schläft man im Futon, die Kapelle verwandelt sich in einen Tempel, statt Fleisch werden Fische gegessen usw. Bei vielen europäisch geprägten Illustrationen dagegen sind Einflüsse von westlichen Vorlagen unübersehbar. Oft lassen die beeinflussten Illustrationen sogar den Ursprungstext für die Übersetzung erkennen. Jedoch waren solche Bilder meistens keine reinen Nachahmungen. Es sind auch etliche Anwendungstechniken der japanischen Illustratoren zu sehen.
Hiroko Nishiguchi ist Professorin für Deutsch in der School of Creative Science and Engineering an der Waseda University. Ihr Forschungsschwerpunkt ist Märchenforschung, insbesondere die Märchen der Brüder Grimm. August 2019: Differenzen zwischen der literarischen Vorlage von Johanna Spyri und dem Anime Heidi. Schweizerischer Roman, japanischer Anime und dessen deutsche Übertragung.Beitrag für das Internationales Symposium »Heidi from Japan: Anime, Narratives, and Swiss Receptions« (29.–31. August 2019). (voraussichtliche Veröffentlichung 2021)
Der Vortrag wird auf Deutsch gehalten.
Bei Fragen bitte die Abteilung Kunstgeschichte Ostasiens kontaktieren: kgoa@khist.uzh.ch
Dieser Anlass wird von der European Association for Asian Art and Archaeology unterstützt.
Lecture:
Schweiz-Japan: Vom Beginn gegenseitiger Beobachtung zur Partnerschaft, bilateral und international
Prof. Dr. phil. Patrick Ziltener (University of Zurich)
Wednesday, 30th June 2021, 18:15–19:30
Online lecture (Zoom) Join
Der Beginn der gegenseitigen Beobachtung beginnt mit einem Paukenschlag im Jahr 1586, mit der Japan-Karte des Luzerner Stadtschreibers Renward Cysat. Schon vor der Etablierung offizieller Beziehungen erreichten Schweizer Japan und dann auch Japaner die Schweiz. Immer wieder gab es kulturellen Bezug aufeinander, seien es japanische Themen im Schweizer Barocktheater, die Schwyzer Japanesenspiele, Schweizer Kriegsbeobachter und Diplomaten, Jesuiten und Missionare in Japan, die Iwakura-Mission in der Schweiz, die Helvetiahütte auf Hokkaido oder die Heidi-Cartoonserie. Der Vortrag schlägt einen weiten Bogen vom 16. Jahrhundert in die Gegenwart und beschreibt die zahlreichen direkten und indirekten Berührungspunkte zwischen den beiden Ländern, in Diplomatie, Politik und Kultur.
Patrick Ziltener, Titularprofessor an der Universität Zürich, arbeitete nach mehreren Studien- und Forschungsaufenthalten in Japan von 2006 bis 2009 als Länderbeauftragter für Japan im Staatssekretariat für Wirtschaft (SECO), Abteilung Bilaterale Wirtschaftsbeziehungen Asien/Ozeanien, Bern, und führte dort das Sekretariat der Verhandlungen über das Freihandels- und wirtschaftliche Partnerschaftsabkommen Schweiz – Japan. Er hat an verschiedenen Institutionen aktiv gelehrt, u.a. an der Universität Zürich und der Universität St. Gallen. Besonders hervorzuheben unter seinen zahlreichen Publikationen ist das zweibändige Handbuch Schweiz – Japan – Manuel des Relations Nippo-Suisses: Diplomatie und Politik, Wirtschaft und Geschichte, Wissenschaft und Kultur: Texte, Dokumente und Bilder aus 400 Jahren gegenseitiger Beobachtung, Austausch und Kooperation.
Herr Prof. Ziltener has generously given us three sets of the two-volume handbook that we in turn will give to three members of the Zoom audience.
This lecture will be held in German.
This event is organised by the Schweizerisch-Japanische Gesellschaft (SJG).
Lecture:
Durch Wind und Wetter: Stilistische und thematische Turbulenzen im Frühwerk Suzuki Harunobus (1760–1765)
Sabine Bradel, Ph.D. Candidate (University of Zurich)
Wednesday, 9th June 2021, 18:00–19:00
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Die drucktechnische Entwicklung des vollfarbigen «Brokatdrucks» im Jahreswechsel 1764/65 revolutionierte nicht nur den Farbholzschnitt der Edo-Zeit (1615–1868), sondern katapultierte den bis dahin weitgehend unbekannten Suzuki Harunobu (1725?–1770) an die Spitze des Holzschnittmarkts. Auch heute noch gelten seine Präsentationen jugendlicher Schönheiten vor aufwändig ausgestalteten und atmosphärisch aufgeladenen Hintergrundillustrationen als Höhepunkte ihrer Epoche.
Dass Harunobus künstlerische Anfänge in Darstellungen populärer Kabuki-Schauspieler und in monochromen Illustrationen didaktischer Frauenbildungsbücher liegen, ist ausserhalb von Kennerkreisen weniger bekannt. Im Vortrag wird anhand zweier repräsentativer Beispiele aus der Zeit vor der Brokatdruckentwicklung aufgezeigt werden, wie sich Harunobu in seinem Frühwerk je nach Themenkomplex und Zielpublikum an unterschiedlichen Vorgängern orientierte und sich deren stilistische und kompositorische Eigenschaften aneignete. Durch das Zusammenfügen dieser Eigenschaften zu innovativen Eigenkompositionen gelang es ihm, nicht nur sein Publikum zu verzaubern, sondern auch seine einstigen Rivalen zu überflügeln.
This lecture will be held in German.
This event is organised by the Schweizerisch-Japanische Gesellschaft (SJG).
Public lecture:
Ddakjibon und die kulturelle Hybridität der koreanischen Moderne
Kim Sung-hwa, Ph.D. (Hankuk University of Foreign Studies)
Wednesday, 26th May 2021, 10:00–11:00
Online lecture (Zoom) Join
Das »Ddakjibon« bezeichnet eine Art populären Lesestoff in der koreanischen Moderne, die mit buntem Buchumschlag nach Einführung der modernen Drucktechnik um 1900 erschien. Die mit der erzwungenen Öffnung der Häfen 1876 beginnende koreanische Moderne war ein Feld der kulturellen Hegemonie, auf dem die unterschiedlichen Kulturen sich begegneten, zusammenstießen und verschmolzen: Die Kulturtradition aus der Joseon-Zeit (1392-1910), die seit Ende 19. Jahrhunderts von den Missionaren eingeführte Kultur des Westens und die japanische Kultur bzw. die durch Japan rezipierte westliche Kultur in der japanischen Kolonialzeit (1910–1945) bildeten eine hybride Kultur durch Aufnahme, Vermischung und Exklusion.
Als ›ein Produkt der Moderne‹ und zugleich als ›ein Diskurs über die Moderne‹ artikuliert das Ddakjibon in Hinblick auf die Materialität und die Narrativität die kulturelle Hybridität der koreanischen Moderne. Unter den technischen und sozialen Verhältnissen des Jahrhundertwechsels um 1900 zeigt der Publikations-, Distributions- und Konsumprozess des Ddakjibons die Entstehung des modernen Lesepublikums und die Verbreitung der Lesekultur. Neben den technischen und sozialen Faktoren ist die Popularität der Ddakjibons durch die Attraktivität seines spezifischen sprachlichen-graphischen Erzählens zu erklären, welches bei der Lektüre als eine entscheidende Motivation fungiert: Die genrespezifischen Erzählmuster in Liebesromanen, Heldenromanen etc. und die bunten Cover-Illustrationen reflektieren die Vorstellungen, die Erlebnisse und Sehnsüchte hinsichtlich der ›Moderne‹.
Flyer (Deutsch) (PDF, 18 MB)
Flyer (English) (PDF, 272 KB)
This lecture will be held in German.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
This event is supported by the European Association for Asian Art and Archaeology.
Guest speaker presentation:
The Kabuki Theater and Yakusha-e Woodblock Prints
Prof. Dr. Ryo Akama (Ritsumeikan University)
Friday, 7th May 2021, 12:15
Online (Zoom) Join
The session is sponsored by the Section for East Asian Art History at the University of Zurich. The session coincides with the Vorlesung lecture series: Kabuki and the Arts of Japan. We gratefully acknowledge the kind cooperation of Prof Akama and the Art Research Center at the Ritsumeikan University.
This lecture will be held in English.
Thematic talk:
Communing with Nature: The Art of Hirosi Ōnishi
Prof. Dr. Hans Bjarne Thomsen (University of Zurich),
Sabine Bradel, PhD Candidate (University of Zurich)
and Martina Ōnishi
Saturday, 1st May 2021, 15:00
Stadthausquai 11-13
8001 Zurich
The talk is held in connection with the exhibition Hiroshi Ōnishi – Bluescapes. For the full programme details, please see the attached invitation.
For reservations or questions, please contact Escapement Art (info@escapement.art)
This lecture will be held in English.
International symposium
International symposium
Exhibiting Japan Overseas: Overseas Contexts and Japan's Contexts
29th March 2021
See full details here
Public lecture
“Information of all kinds given free to Japanese Gentlemen”: Schweizerisch-Japanische Beziehungen zwischen Diplomatie und transnationalen Netzwerk
Prof. Dr. Madeleine Herren (Universität Basel)
Wednesday, 17th March 2021, 18:00–19:00
Online lecture (Zoom)Join
Die frühe Institutionalisierung der schweizerisch-japanischen Beziehungen in der zweiten Hälfte des 19. Jahrhunderts prägt die Geschichte der schweizerischen Diplomatie und stellt diese in einen globalen Kontext. Dabei lässt sich zeigen, dass sich während des Zweiten Weltkriegs die schweizerischen Kontakte in Asien nochmals intensivierten und vervielfältigten und zwar nicht zuletzt durch die zahlreichen Mandate, welche die Schweiz im Rahmen der sogenannten «Guten Dienste» übernahm. Zu diesen gehörte auch die Vermittlung der Kapitulationsbedingungen zwischen Japan und den Alliierten, die über die diplomatischen Kanäle im Bundeshaus in Bern finalisiert wurden. Diese vielschichtigen Aktivitäten bedingten allerdings ein Netzwerk bereits bestehender informeller Beziehungen sowohl in Japan als auch in der Schweiz. Es soll dargelegt werden, wie sich derartige Netzwerke entwickelten, und welche Rolle der Völkerbund in Genf sowie die Expat-Communities Ostasiens spielten.
FS21 Herren flyer (PDF, 468 KB)
Dieser Anlass wird von der Schweizerisch-Japanische Gesellschaft finanziert.
Der Vortrag wird auf Deutsch gehalten.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
Public lecture
The Mechanics of Change: The Aesthetics of Chinese Ceramics in the Northern Song (960-1127) and Early Jin (1127-1234) Dynasties
Prof. Dr. Sabrina Rastelli (Ca'Foscari University)
Friday, 11th December 2020, 18:15–19:15
Online lecture (Zoom) Join
Song dynasty (960-1279) ceramics are often considered the most accomplished in the history of this material in China, although in recent years the market has favoured later wares produced at Jingdezhen for the imperial house of the Ming (1368-1644) and Qing (1644-1911) periods. Song manufacture was indeed impressive in terms of quality, variety and quantity, as reported in many literary documents written over the centuries by eager connoisseurs and confirmed by archaeological excavations carried out since the 1950s. The approach adopted in this paper rests mainly on archaeological data, that is, it will analyse production in the eleventh and early twelfth centuries relying on excavated evidence to understand the mechanics of aesthetic change. For too long the appreciation of Song wares and the interpretation of archaeological results have been subordinated to scholarly writings, which can offer some guidance, but are not consistent. Song records are scarce and tend to be rather concise; Ming and Qing texts are more numerous, but less reliable, as the time gap is wider and rather than reflecting the appreciation of ceramics in the Song dynasty, they mirror the admiration that later connoisseurs had for Song wares – or what they thought was Song. As such, it is a very interesting phenomenon, worth studying in relation to appreciation and collecting in the Ming and Qing dynasties, but it should no longer be applied to interpret Song ceramics.
Sabrina Rastelli is Associate Professor of Chinese Art and Archaeology at Ca’ Foscari University, Venice, in the Department of Asian and North-African Studies, where she has been teaching since 1999. Her research interests range from ceramics to art history, funerary art and contemporary art. Recently she has focused on Song dynasty ceramics, particularly their aesthetics and the concept of the five famous wares; she has published the first of two volumes on the history of Chinese art (“L’arte cinese I. Dalle origini alla dinastia Tang [Chinese art I. From the origin to the Tang dynasty]”, 2016); she is consultant of the Treccani Institute (editor of the Italian Encyclopaedia of Sciences, Letters and the Arts founded in 1925) for the Chinese section of the new encyclopaedia on 20th century world art which will be published in Spring 2021.
HS20 Rastelli flyer (PDF, 8 MB)
The lecture will be held in English and is open to the public. No prior registration is required.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
Public lecture
Illuminating Genji: Reading the World's First Novel in Text and Image
Prof. Dr. Melissa McCormick (Harvard University)
Wednesday, 16th October 2019, 18:00–19:00
Rämistrasse 71, 8006 Zurich, KOL-G-217
The Tale of Genji, written by the court lady Murasaki Shikibu in the early eleventh century, inspired art works of tremendous variety throughout Japanese history. In this talk, Melissa McCormick discusses strategies for reading the tale today using highlights from an exhibition that she guest curated at the Metropolitan Museum of Art in New York in Spring 2019. The exhibition traced the tale’s cultural legacy over one thousand years, displaying more than 120 objects from collections in Japan and the United States. Central points to be examined in the lecture include new ways of interpreting the female authorship of the tale, Genji's relationship to Buddhism, and the political uses of Genji imagery from the medieval to the modern era.
HS19 McCormick flyer (PDF, 304 KB)
The lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
Public lecture:
Research of East Asian Collections in Slovene Museums
Tina Berdajs (PhD Candidate, University of Ljubljana)
Thursday, 23rd May 2019, 17:00–18:00
Rämistrasse 59, 8001 Zurich, RAA-G-15
During the last few decades, numerous studies of collections and individual objects have been carried out across Europe, but studies in this field within the Eastern European and Balkan region are still quite rare. In June 2018, a three-year research project began in Slovenia. Entitled East Asian Collections in Slovenia: Integration of the Slovene Territory in the Global Exchange of Objects and Ideas with East Asia, it is based on the exploration and reconstruction of intercultural contacts between Slovenia and East Asia through research of the collections of East Asian art and other materials located and kept in various Slovenian museums and institutions.
According to current research, there are nineteen different Slovene East Asian collections, housing various individual objects of East Asian origin. During research on East Asian art collections and their collectors, including their collecting practices and general attitudes towards East Asia, many problems arose concerning the identification and treatment of East Asian objects in the absence of specific knowledge, insufficient or incorrect museum documentation, and lack of general basic information on the topic.
One of the biggest collections of East Asian art in Slovenia will be the focus of the presentation, namely, the collection of East Asian ceramics at the National Museum of Slovenia. This collection consists of more than 250 ceramics of great variety in types and origins. It is part of a greater collection of ceramics held at the National Museum of Slovenia, and its acquisition touches on a delicate matter of the so-called “Federal Collection Centers” and the post-World War II confiscation of property by the army and government forces. The greater part of the collection came to the museum via these channels and the provenances of many objects are still labeled as “unknown” due to this sensitive aspect of Slovenia’s history.
FS19 Berdajs flyer (PDF, 329 KB)
The lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
Ein Abend mit...Kei Chikaura
Guest appearance of the director of "Complicity", which will be shown as the opening film during the Ginmaku Japanese Film Festivals on 22nd May 2019.
Friday, 24th May 2019, 18:30 (followed by a reception)
Rämistrasse 71, 8001 Zurich, KOL-F-104
Kei Chikaura hat seine Karriere als Filmemacher 2013 begonnen. Sein zweiter Kurzfilm „The Lasting Persimmon” wurde für das Clermont-Ferrand International Short Film Festival 2016 nominiert. In der Auswahl für das Locarno International Film Festival und das Toronto International Film Festival 2017 stand sein dritter Kurzfilm „Signature“. Er gewann den Grand Prix beim Encounters Film Festival 2017.
FS19 Kei Chikaura flyer (PDF, 298 KB)
The lecture and discussion will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
Public lecture and book presentation:
Following the Footprints of Calligrapher-Monk Seng'an Daoyi (act. ca. 562–580)
Elisabeth A. Jung Lu (Independent Scholar, Hangzhou)
Thursday, 28th March 2019, 17:00–18:00
Rämistrasse 59, 8001 Zurich, RAA-G-15
The calligrapher-monk Seng’an Daoyi is a somewhat mysterious figure. He had close relationships to powerful members of the political elite of the Northern Qi dynasty (550–577), but he is not recorded in any historical sources. Propagating his Buddhist teachings by means of calligraphy inscribed and carved onto cliff walls and big rocks, thus transforming the natural mountain scenery into eternal sacred places, Seng’an Daoyi left behind the most extensive remaining work of a known early calligrapher. His contemporaries credited him with extraordinary aesthetic achievement and even judged his calligraphic skills as surpassing those of the four towering masters of the Han, Wei, and Eastern Jin periods: Wei Dan, Zhang Zhi, Zhong You, and Wang Xizhi, and yet we do not find his name in the history of calligraphy. If we want to get to know him, we have to travel to the remote mountains of present-day western Shandong and southern Hebei province, where inscribed colophons accompanying Buddhist moya (polished-cliff) inscriptions give proof of his existence. They testify that for twenty years he played a prominent role—as a calligrapher, designer, organizer, and donor—in the context of sutra carving activities performed from the 560s on.
This lecture starts with an introduction to the large writing project associated with the calligrapher-monk Seng’an Daoyi. Using the visual evidence remaining today, the lecture aims to trace the process of its actual making, discussing the chiseling of the inscriptions as well as their size and the issue of duplication. Chinese stone inscriptions are traditionally studied by means of rubbings. However, although a rubbing and the stone-carved characters from which it is made represent an identical piece of calligraphy, the rubbing possesses a different materiality, appearance, and aesthetic quality. What are the aesthetic consequences of the transformation that takes place when transferring a carved calligraphy onto another medium? It will be shown that there exist intriguing relationships between the various “states of being” of a calligraphic text in its various forms as brush-written manuscript, stone-carved characters, ink rubbing on paper, and the textual image in art-historical discourse. The lecture closes with the description of an event of actual “mountain writing” on a monumental scale.
Elisabeth A. Jung Lu is an independent scholar and calligrapher based in Hangzhou, China. She studied calligraphy and seal-carving for ten years at the China Academy of Art (CAA) in Hangzhou (M.A. in 2002) and completed her dissertation in 2015 at the University of Zurich under the supervision of Hans Bjarne Thomsen and Robert E. Harrist Jr. of Columbia University. She has acted as an interpreter in the fields of East Asian art history and media arts (Museum Rietberg Zurich, China Academy of Art), led calligraphy workshops (Museum Rietberg Zurich), and curated the solo calligraphy exhibition of works by Lu Dadong in Waldshut (Culturescapes China 2010). She also participated in the large-scale exhibitions of contemporary calligraphy, Shu fei shu, hosted by the China Academy of Art (2010, 2015). Her dissertation “When Confucian Spirit Meets Southern Elegance: The Origins and Transmission of Calligraphic Traditions Carved in Stone During the Northern Qi Dynasty (550–577)” was recently published by Zhejiang People’s Fine Art Publishing in Hangzhou in 2 volume-book and will be presented to public during the lecture.
The lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
The Making of a Standard Mountain: Huangshan Photography and the History of Chinese painting, 1931–1935
Dr. habil. Juliane Noth (Freie Universität Berlin / Universität Heidelberg)
Monday, 3rd December 2018, 18:30-19:30
Rämistrasse 59, 8001 Zurich, RAA-G-15
In the 1930s, Huangshan, a mountain famous for its scenic beauty, became the target of touristic development, and a frequent motif in photography as well as painting. Practitioners of both media referenced earlier traditions of Chinese landscape painting as the mountain was refigured as emblematic of a national landscape. I will discuss how photographers adapted their medium to the landscape, and how this changed perceptions about the history and the pictorial conventions of ink painting.
The lecture will be held in English and is open to the public. For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
The Transnational Invention of Chinese Art
Prof. Dr. Craig Clunas (University of Oxford)
Friday, 16th November 2018, 18:00-19:00
Rämistrasse 59, 8001 Zurich, RAA-G-01
The creation of a modern Chinese art in the first half of the twentieth century necessarily required the creation of its opposite - ‘traditional Chinese art’, that which by definition was not modern. The materials out of which traditional Chinese art, and in particular ‘traditional Chinese painting’ were constructed were many and various, including the actual art of the past, and the copious historical written record about painting and painters. From the early twentieth century onwards, new structures of collecting and display, as well as new technologies of publishing and reproduction, came together with a range of intellectual and theoretical positions, both indigenous and imported, to make possible a way of looking at the art of premodern China which has endured to the present day. At the same time, the development of art history as a discipline, both inside China and internationally, made the art of the past very much a part of current debate. This lecture will look at some of the ways transnational encounters were crucial to this process.
The lecture will be held in English and is open to the public. It will be followed by a small reception. For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
The Mass Consumption of Refashioned Clothes: Redyed Kimono in
Post-War Japan
Prof. Dr. Miki Sugiura (Hosei University)
Friday, 19th October 2018, 12:15–13:15
Rämistrasse 73, 8006 Zurich, RAK-E-8
Among the strategies of post-consumer textile waste management, refashioning or the makeover of used clothes, is gaining attention as value added recycling. However, refashioning business is considered as being possible only on a small scale. This presentation presents a case of its mass scale operation and clarifies the factors that enabled it. From the 1920s to the 1960s, re-dyeing played an indispensable role in Kyoto maintaining its central position in dyed kimono production. This study clarifies how the coordinators of re-dyeing and makeover, the shikkai, established a MTO (make to order) network, forming direct and recurrent ties with customers nationwide.
HS18 Sugiura flyer (PDF, 264 KB)
The lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
Painting in North Korea
Dr. Ariane Perrin (Catholic University of Paris)
Friday, 5th October 2018, 18:00
Rämistrasse 59, 8001 Zurich, RAA-G-15
DPR Korea Grand Tour, Carl de Keyzer, MAGNUM © Roberto Polo Gallery.In 2018 the Democratic People’s Republic of Korea celebrates 70 years of existence. Following its creation, the State used art primarily in order to disseminate its ideology and to educate the people.
Focusing on the period from the 1970s to the present, this lecture will investigate the main characteristics and developments of North Korean painting, beginning with the New Chosŏnhwa (“Korean painting”) movement. We will look at the doctrinal origin of North Korean art and aesthetics based on the State ideology of Chuch'e (“self-reliance”) and examine the various subject matters that formed the core of this ideology, including theme paintings illustrating important episodes in Korean history, and landscapes and their political narrative. We shall also see how these paintings are made in contemporary collective art production centres – the most important one being the Mansudae Art studio in Pyongyang – and are gaining international recognition, as revealed by the special section on North Korean art at the 2018 Gwangju Biennale.
HS18 Perrin flyer (PDF, 290 KB)
This event is open to the public and does not require advance registration. The lecture will be held in English. For questions about the event, please contact the Section for East Asian Art: kgoa@khist.uzh.ch
This public lecture is sponsored by the Korea Foundation.
Beads of Identity and Woodcuts of Protest from North Borneo
Pangrok Sulap art collective in collaboration with blockA.D.E.
22. Juni 2018, 10:00 -18:00 Uhr
Lichthof, Hauptgebäude der Universität Zürich (KOL, Rämistrasse 71)
The Pangrok Sulap art collective in collaboration with the Swiss woodcut collective blockA.D.E. are holding a one-day exhibition and presentation entitled "Beads of Identity and Woodcuts of Protest from North Borneo".
Eleanor Goroh is a beader and a poet based in Kota Kinabalu, Sabah. She has joined exhibitions and recitals around Malaysia. In 2017, she started to play the traditional mouth organ to accompany her poetry with melodies. As an artist, she is exploring the traditional arts to trace back her indigenous heritage. Her exhibit Roots & Seeds will show her beadwork designs accompanied with her latest poetry, telling a story of her journey crossing borders in search for the oldest musical instrument in Borneo. Eleanor Goroh is a member of the Tamparuli Living Arts Centre (TaLAC) an independent artist-run residency in Sabah. Beads are part of our costume heritage and act as repositories of knowledge. They were items of trade, a form of currency and status symbol within a society. Beads are tangible items, which carry stories, memories and identities.
Rico Leong is a woodcut artist, print-maker and illustrator from Ranau, the town by the foothills of Mount Kinabalu, Sabah, and member of Pangrok Sulap. He is based in Kuala Lumpur and had his first solo exhibition in 2017. Since then, he has been invited to workshops and presentations around South East Asia. His woodcut print exhibition will show the pieces he has been working on for the past year, mainly depicting relations of men towards nature. Woodcut is one of the earliest ways of printmaking before the invention of machines. It is a very pragmatic and low-cost way to spread messages to the masses. Today, it has returned as a DIY- method to make our own prints manually, instead of using the common printer machines.
BlockA.D.E. (Block Art of Direct Expression) is a two year old Swiss woodcut collective, which was founded through the inspiration of the east asian social and political movement in relation with artistic tendencies and means of expression. There will be the occasion to talk and get informed about the history, backgrounds and actuality of the movement, as also the opportunity to learn more about the handcraft and workshops, which will be held in Switzerland as collaboration projects of these two collectives. If you want a print – Take your shirt with you!
FS18 Pangrok Sulap flyer (PDF, 550 KB)
7. Forum Ostasiatische Kunstgeschichte
1. und 2. Juni 2018
Universität Wien, Institut für Kunstgeschichte, Seminarraum 1
Garnisongasse 13, Hof 9 (Uni Campus), Wien
Das Forum Ostasiatische Kunstgeschichte ist eine Initiative von akademischen Nachwuchskräften an deutschsprachigen Universitäten und richtet sich an Stu- dierende, Prae- und Post-Docs sowie Young Professionals aus dem Bildungs- und Kulturbereich
Programm und Flyer:
2018 Forum OAKG Poster (PDF, 1 MB)
2018 Forum OAKG Programm (PDF, 430 KB)
Das Organisationsteam:
Sabine Bradel (Universität Zürich), Hanna Brinkmann (Universität Wien), Maximilian Bürger (Ludwig-Maximilian Universität München), Ronald Kiwitt (Freie Universität Berlin), Fabian Komoß (Universität Potsdam), Alexandra Nâchescu (Universität Wien), Katharina Rode (Universität Heidelberg), Maria Sobotka (Freie Universität Berlin) und Alexandra Wedekind (Universität Wien).
Weitere Informationen unter: http://oakg-forum.jimdo.de/
Korean "New Women" in Europe: Pioneers of the Early 20th Century
Prof. Dr. LEE Hyojin (Heidelberg University)
Monday, 28th May 2018, 18:00–19:00
Rämistrasse 71, 8006 Zurich (UZH Main Building) KOL-E-21
Korean women were able to receive modernized education through missionary schools and private women’s schools from the late 19th century onward. Some women decided, however, to study abroad in order to achieve modern knowledge and culture and to promote the interests of their nation.
The word Shin Nyeseong has its origins in the English “New Woman.” This phrase and the idea of liberalization for women came through Japan and became widespread in Korea during the 1920s, partly through their promotion by magazines such as the “New Women” (Shin Nyeoseong). Women now began to examine “old women” or the “old society” and to compare them with the new movement, marking, in effect, the birth of the women‘s rights movement in Korea.
These so-called New Women pursued not only professional jobs, but they also actively participated in the women's reform movement by freely associating with men, by freely marrying and divorcing, by being sexually liberated, and other phenomena related to rapid social change.
This talk will focus on the activities of these Korean New Women in Europe during the 1920s. I will introduce remarkable figures of Korean New Women such as Na Hye seok, Kim Il Yeob and Kim Myeong sun and also include a hitherto unknown figure, namely Choi Yeong-suk, who was the first Asian woman exchange student in Sweden and highlight her life and activities in Europe.
FS18_LeeHyojin_flyer (PDF, 1015 KB)
This lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History (kgoa@khist.uzh.ch).
Master Class in Film Directing
by the Prize-Winning Japanese Film Director NAKAGAWA RYUTARO
Wednesday, 22th May 2018, 18:30–19:30
Rämistrasse 71, 8006 Zurich (UZH Main Building), KOL-F-101
The University of Zurich together with the Japanese Society announces the second masterclass in film directing, held this time on May 22, 2018 by the young Japanese director and poet Nakagawa Ryutaro. Director Nakagawa will appear at the University of Zurich for an evening of discussions of moviemaking, on his own works, and on the state of Japanese film tradition
We are planning for this to be an informal, interactive evening with discussions on the arts of the cinema. The audience will be encouraged to ask questions and the evening will include short sections from his films, with commentary from the director. It should be a fun and informative evening for anyone interested in Japan and its cinematic tradition.
This event takes place in association with the GINMAKU Japanese Film Festival in Zurich (May 23-27, 2018).
FS18 Master Class Nakagawa (PDF, 160 KB)
Further details can be found in the flyer. For questions, please contact the Section for East Asian Art History (kgoa@khist.uzh.ch).
"Build Back Better" after the 3/11 Disaster: Efforts to Revitalize a Disaster-Affected Region from the Perspective of a Museum Curator
Prof. Dr. Koji Kato (Tohoku University)
Tuesday, 15th May 2018, 15:15–17:00
Rämistrasse 71, 8006 Zurich (UZH Main Building) KO2-F-150
The multiple disasters of March 2011, with its origins in a massive earthquake off the northern coast of Japan, resulted in enormous and lasting damage. The earthquake gave birth to a tsunami that devastated much of the northeastern coastline, resulting in the deaths of at least 15, 891 persons and the displacement of 300,000 inhabitants, only to be following in quick succession by the nuclear disaster at the Fukushima nuclear reactors.
How does one react to disaster? How should we, as members of academia, respond to such events – and not as abstractions, but when they are actual event in one’s own backyard? How should museums respond to a disaster that has devastated its own audience? And how should the past be represented when it is intimately connected to recent trauma?
Professor Kato has spent the last years working in the disaster-stricken sites of northeastern Japan. He has responded as an academic and as a museum curator and has created multiple museum exhibitions, at first in make-shift tents, in response to the needs of the survivors.
It this workshop, Professor Kato will look at a specific site – Ayukawamachi in Ishinomaki City – a location that was closest to the earthquake epicenter, and thus a place that suffered some of the greatest damage. He will detail the work that he has done in the area, such as the rescue of cultural property, and will describe the collaboration of many actors, including local individuals and institutions, in preserving and recreating the past.
This lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History (kgoa@khist.uzh.ch).
East Asian Paintings and Their Subjects
Dr. SEO Yun-Kyung (Principal Researcher, Center for Art Studies, South Korea)
Wednesday, 29th November 2017, 16:15–17:30
Seminar room, Villa Schönberg (Gablerstrasse 14, 8002 Zurich) GAP
The Comprehensive Research and Digitization Project on Subjects of East Asian
Paintings is a Korea-based project that aims to collect, discover, and interpret the
subjects of East Asian paintings and to establish a comprehensive database, based on this information. In this presentation, the speaker will introduce this wide-ranging
project and discuss methods by which painting categories can be classified through an examination of art historical definitions, literary sources, historical trends, and other
factors. It is hoped that the research materials gained from this project will be
incorporated into a web-based database system that will not only provide basic
information about East Asian paintings but also connect painting subjects with the
relevant literary records.
This lecture is open to the public. For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
The Artist Asai Chū and Paris in the Early 1900s
Prof. Dr. Seishi Namiki (Kyoto Institute of Technology)
Monday, 30th October 2017, 17:15–18:30
Seminar room, Villa Schönberg (Gablerstrasse 14, 8002 Zurich) GAP
As a representative oil painter of modern Japan, Asai Chū (1856-–1907) was appointed professor of Western Painting in 1898 at the newly established Tokyo Art School (today'ʹs Tokyo University of Art and Music). Shortly after his appointment, however, he visited Paris in 1900, a travel that triggered a change of course for the artist. Just a year later, in 1902, he accepted a professorship at the Kyoto School of Art Crafts (today'ʹs Kyoto Institute of Technology), and began his activities as a pioneering educator of design in Kyoto.
This change of professional direction has hitherto been explained as a result of Asai'ʹs awareness of the importance of design, which he had witnessed in Paris during the heyday of the Art Nouveau Movement. Asai did in fact show an interest in crafts while in Paris by, for example, painting on ceramic wares. At the same time, he started to question the importance of his own oil paintings and their expressions, in which he had believed up to this point. This change of heart might have been the result of his doubts regarding the idea of realism, a key symbol of the modern era. In my lecture, I will discuss this major artist of the modern era and examine the importance of oil paintings and design in early twentieth century Japan.
Professor Seishi Namiki is Professor at the Department of Art History and Design at the Kyoto Institute of Technology, Japan. In addition, he is the Director of the Museum of Art and Design, and the Director for the Center for Education and Research of Cultural Heritage, both at the same university. He is currently Ishibashi Visiting Professor for Japanese Art History at the University of Heidelberg.
This lecture is open to the public. For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
The 9th Annual EU Workshop at the University of Zurich
Samstag, 28. Oktober 2017, 12:50-19:00
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
Presentations in Japanese and English.The event is free and open to the public. As space is limited, prior registration is required. Please email alina.martimyanova@khist.uzh.ch to make a reservation
2017 Kansai University EU Workshop Program (PDF, 522 KB)
Connectedness and Cosmopolitanism in Modern Chinese Art
Prof. Dr. Craig Clunas (University of Oxford)
Friday, 15th September 2017, 17:00–18:30
Rämistrasse 59, 8001 Zurich, Aula (RAA G-01)
The lecture will examine some of the problems around 'Chinese art' as a distinct category, and in particular the ways in which these problems intensify when we come to consider the early 20th century. One of these problems comes from the development of art historical 'Big Data', the kinds of databases and other digital resources which simply make so much more material available to us. Taking 1928 as a case study, the lecture will look at some of the forms of connectedness around the art of this single year, and the demands which that art makes on us for a more cosmopolitan approach to the subject. By dealing equally with artists who are part of the canon of 'modern Chinese art' and with those who are totally forgotten, the lecture will attempt to argue for a less narrow story of art in modern China.
Craig Clunas is Professor of the History of Art at the University of Oxford. He previously taught at the University of Sussex and the School of Oriental and African Studies, University of London. He worked as a curator at the Victoria and Albert Museum for nearly fifteen years, and in 2014 he co-curated the British Museum exhibition Ming: 50 Years that Changed China . His publications include several monographs on the art of the Ming dynasty as well as Chinese art in the twentieth century. His most recent book, based on the 2012 Mellon lectures delivered at the National Gallery of Art, Washington DC, is entitled Chinese Painting and its Audiences (2017).
HS17 Clunas flyer (PDF, 934 KB)
This lecture is open to the public and will be followed by a small reception. For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch
EAAA CONFERENCE KEYNOTE LECTURE
Korea through the Foreign Lens: Photographs by Burton Holmes and Jack London
Prof. Dr. Burglind Jungmann (UCLA)
Friday, 25th August 2017, 19:30–20:30
UZH Zentrum (Rämistrasse 71, 8006 Zurich), KOL-F-101
The famous author Jack London (1876-1916) and the Hollywood film pioneer Burton Holmes (1870-1958) visited Korea in the early 1900s on very different missions. Both were enthusiastic photographers and captivating writers, yet their impressions of the country could not differ more. Burton Holmes had made world travel his profession and entertained large audiences with lantern slides lectures, filling famous venues such as Carnegie Hall in New York. He also shot the first documentary film of Seoul, and published his photographs and texts in a book series of ‘travelogues’ - a word coined by him. London, on the other hand, was employed by William Randolph Hearst for the San Francisco Examiner to report on the Russo-Japanese War in 1904 and wrote about his adventures on the way to the front at the Yalu River. By analyzing their photographs together with their texts, this lecture will explore questions such as: What do London and Holmes have in common, and what separates them? What was their intention, who their audiences? How do their personal and social backgrounds influence their perception of Korea? Do texts and images tell the same stories? How much do they tell us about the country, and how does Korea look back at these foreigners?
EAAA Keynote Jungmann flyer (PDF, 1 MB)
This is a keynote lecture on the occasion of The Second Conference of the European Association for Asian Art and Archaeology. It is open to the public. For the rest of the three-day conference, a registration fee will be required. For questions, please contact the organizing committee (conference@ea-aaa.eu) or go to the conference homepage: http://www.ea-aaa2017.ch
The keynote lecture is supported by:
Korea Foundation, Swiss National Science Foundation (SNF), Canton of Zürich, City of Zurich, Chiang Ching-kuo Foundation for International Scholarly Exchange, Georg und Bertha Schwyzer-Winiker Stiftung, articulations, Hochschulstiftung (University of Zurich).
The organizers are grateful for the support of the Embassy of the Republic of Korea.
EAAA CONFERENCE KEYNOTE LECTURE
Ashura's Face
Prof. Dr. Yukio Lippit (Harvard University)
Donnerstag, 24. August 2017, 18:30–19:30
UZH Zentrum (Rämistrasse 71, 8006 Zürich), KOL-F-101
No work of Japanese sculpture has been the subject of as much attention and rapturous commentary from writers, philosophers, and critics than Kofukuji’s Ashura (dated 734), now perhaps the most famous piece of sculpture in Japan after the Great Buddha at Todaiji itself. This lecture offers a new interpretation of the sculpture’s enigmatic expression by examining the ways in which Ashura catalyzed the religious imagination in relation to its ritual context, architectural setting, and the materiality of dry lacquer technique. Ashura allows us to better understand a new paradigm of temple hall in the ancient imperial capital of Nara, one that emerged in the wake of new forms of Buddhist knowledge and practice spreading throughout East Asia.
EAAA Keynote Lippit flyer (PDF, 3 MB)
This is a keynote lecture on the occasion of The Second Conference of the European Association for Asian Art and Archaeology (EAAA). It is open to the public and will be followed by a reception. For the rest of the three-day conference, a registration fee will be required. For questions, please contact the organizing committee (conference@ea-aaa.eu ) or go to the conference homepage: http://www.ea-aaa2017.ch
The keynote lecture is supported by:
Korea Foundation, Swiss National Science Foundation (SNF), Canton of Zürich, City of Zurich, Chiang Ching-kuo Foundation for International Scholarly Exchange, Georg und Bertha Schwyzer-Winiker Stiftung, articulations, Hochschulstiftung (University of Zurich).
EAAA CONFERENCE KEYNOTE LECTURE
Ashura's Face
Prof. Dr. Yukio Lippit (Harvard University)
Donnerstag, 24. August 2017, 18:30–19:30
UZH Zentrum (Rämistrasse 71, 8006 Zürich), KOL-F-101
No work of Japanese sculpture has been the subject of as much attention and rapturous commentary from writers, philosophers, and critics than Kofukuji’s Ashura (dated 734), now perhaps the most famous piece of sculpture in Japan after the Great Buddha at Todaiji itself. This lecture offers a new interpretation of the sculpture’s enigmatic expression by examining the ways in which Ashura catalyzed the religious imagination in relation to its ritual context, architectural setting, and the materiality of dry lacquer technique. Ashura allows us to better understand a new paradigm of temple hall in the ancient imperial capital of Nara, one that emerged in the wake of new forms of Buddhist knowledge and practice spreading throughout East Asia.
EAAA Keynote Lippit flyer (PDF, 3 MB)
This is a keynote lecture on the occasion of The Second Conference of the European Association for Asian Art and Archaeology (EAAA). It is open to the public and will be followed by a reception. For the rest of the three-day conference, a registration fee will be required. For questions, please contact the organizing committee (conference@ea-aaa.eu ) or go to the conference homepage: http://www.ea-aaa2017.ch
The keynote lecture is supported by:
Korea Foundation, Swiss National Science Foundation (SNF), Canton of Zürich, City of Zurich, Chiang Ching-kuo Foundation for International Scholarly Exchange, Georg und Bertha Schwyzer-Winiker Stiftung, articulations, Hochschulstiftung (University of Zurich).
Rural Identity in Modern and Contemporary Vietnamese Art
Vortrag von Louise Malcolm
Montag, 8. Mai 2017, 16:30–18:30
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
The respected art historian Stanley O’Connor Clark noted that, in Southeast Asia, art is inherently linked to everyday life and experience, which were, in the 20th century, played out in the village. In fact, ‘the village’, where people live in close constellation with each other, local deities, animals and the landscape, is, in Vietnam, regarded as the heart of life. Much Vietnamese modern art epitomises this connection, and rural identity continues to be an important topic in contemporary Vietnamese art.
Before modernist expressions via hoi hoa (the practice of European painting), village life was communicated through ancient crafts such as woodblock printing, ceramics and the carvings that adorned temples and dinh (communal houses). Additionally, village festivals that incorporated dance, spoken literature, music and opera were an important way of expressing identity. However, as part of their mission civilisatrice in Indochina, the French sought to transform local craftsmen, whom they thought inferior, into ‘fine artists’. To this end, they founded l’École des Beaux-Arts de l’Indochine (Hanoi, 1925) where the school’s curriculum focused on oil painting in the style of the French masters. An aesthetic hierarchy that celebrated ‘the Western’ and diminished ‘the rural’ arose. Rural identity remained artistically detached even as the Indochina Wars drew to a close: motifs from everyday village life – domestic animals, mythological heroes and folk dances – did not accord with the concept of ‘progressiveness’ that the Communist Ministry of Culture sought to promote.
Nevertheless, we can identify the origins of Vietnamese modernism in the village, rather than in colonialism or the West. In the 1940-70s, the artists Nguyễn Đỗ Cung (1912-77) and Nguyễn Tư Nghiêm (1919-2016) had travelled the rural landscape to research the ancient crafts that had long been the wellspring of Vietnamese creativity. By the time of Đổi Mới (open door policy) in 1986, they had succeeded in reincorporating these indigenous arts into the cannon. Consequently, the rural motifs that flit through the work of modern artists such as Nghiem came to define Vietnamese characte. This idea appealed to younger generations, and today contemporary artists such as Thảo-Nguyên Phan (b. 1987) and Phan Quang (b. 1976) continue to explore rural identity in their work.
Thus, in contrast to the West, where modernity is often regarded as an urban phenomenon, this talk will explore how Vietnamese artistic modernism draws on village life. It will investigate how vernacular traditions have informed modern and contemporary art in Vietnam, and also how these artworks have, in turn, shaped Vietnamese identity.
FS17 Malcolm Flyer (PDF, 3 MB)
Art of the Yuanmingyuan & Victorian Design
Vortrag von Kate Hill (Postgraduate Researcher, School of Culture and Creative Arts, University of Glasgow)
Dienstag, 28. Februar 2017, 16:30–17:30
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
At the close of the final opium war in 1860, British and French troops sacked the Yuanmingyuan, imperial garden estate of the Qing emperors, and they brought thousands of objects from the imperial Chinese collections to Europe. Porcelains, textiles and enamelwares produced for the Qing court caused a sensation in Europe, where they were emulated by leading designers in the decades after the war. In Victorian Britain, the influx of Chinese imperial art played a central role in the design reform movement led by William Morris, Owen Jones and Christopher Dresser. The lecture will examine the role of spoils from the Yuanmingyuan in their work and the wider movement towards mass-produced design powered by the industrial revolution.
Institutskolloquium: Routes and Paths. Knowledge Transfer in Asian Art
Vorträge von verschiedenen Gastsprechern (siehe Programm)
FS17 (Februar bis Juni) Mittwochs, 18:15 - 20:00 Uhr
Objects, ideas, and belief systems travel from culture to culture, along routes of knowledge transfer. Asian examples would be the Silk Road, Mongol Conquests, trade winds, VOC (Dutch East India Company) trade routes, and safe harbors. These routes can be land-based or maritime; they can be established roads or less-travelled paths; they can travelled with or without maps and can be simple, complex, or entangled. Importantly, they lead from one place to the other over time and have a real history. Such routes often lead to an intense exchange of ideas across contact zones, leading to new ideas, new identities, and new art forms. The colloquium, inspired by Getty’s Connecting Seas program, will look at the functions of routes and paths in the service of knowledge transfer and will invite various speakers to discuss the various angles and approaches within this topic that deal with art. We plan to have representatives from a wide range of Asian art. Through these case studies, we will examine how knowledge transfer can work toward bringing objects and ideas to different cultures and how the new ideas are then received, appropriated, or assimilated into already existing art forms.
6. Forum Ostasiatische Kunstgeschichte, Call for Papers (bis 1. März 2017)
Freie Universität Berlin, Kunsthistorisches Institut, Ostasiatische Kunstgeschichte und Museum für Asiatische Kunst, SMB; Freitag, 16. und Samstag, 17. Juni 2017
Museum für Asiatische Kunst, Kleiner Vortragssaal, Takustr. 40, 14195 Berlin
Das „Forum Ostasiatische Kunstgeschichte“ ist ein jährlich stattfindendes Treffen von VertreterInnen des akademischen Mittelbaus, PostdoktorandInnen und DoktorandInnen, die ihren Forschungsschwerpunkt auf der Kunstgeschichte Ostasiens oder einem verwandten Gebiet haben. Das Forum gibt der Ostasiatischen Kunstgeschichte im deutschsprachigen Raum, die als akademische Disziplin institutionell zwischen einer europäisch-amerikanisch geprägten Kunstgeschichte und den einzelnen Ostasienwissenschaften angesiedelt ist, eine eigene Plattform.
Auf dem 6. Forum werden persönliche Forschungsvorhaben vorgestellt und methodische und institutionelle Perspektiven des Faches diskutiert. Wir bitten um Vorschläge für Werkstattberichte aus aktuellen Forschungsprojekten und Qualifikationsarbeiten. Besonders willkommen sind Vorträge, die einen dezidiert methodischen Schwerpunkt aufweisen. Es können auch Bewerbungen für ein inhaltliches Panel mit drei bis vier Sprechern eingereicht werden. Als weitere Programmpunkte sind eine Sektion mit Berichten aus den Instituten und ein Besuch im Depot des Museums für Asiatische Kunst geplant.
Bewerbungen mit einem Abstract von max. 300 Wörtern für einen 20-minütigen Vortrag und einem kurzen Lebenslauf (max. 1 Seite) erbitten wir bis zum 1. März 2017 per E-Mail an Juliane Noth (juliane.noth@fu-berlin.de). Bewerbungen für ein Panel sollten Abstracts für das Panel sowie für jeden einzelnen Vortrag umfassen. Tagungssprachen sind Deutsch und Englisch.
Constructing the History of Japanese Art in the British Museum
Vortrag von I.K.H. Prinzessin Akiko of Mikasa of Japan, D.Phil., Kyoto Sangyo Universität
31. Mai 2017, 18:15–19:45
Aula, Rämistrasse 59, 8001 Zürich RAA-G-01
How Images Meditate in Caves?
Vortrag von Prof. Dr. Eugene Y. Wang (Harvard University) mit anschliessendem Apéro
Dienstag, 29. November 2016, 18:00–20:00
Aula, Rämistrasse 59, 8001 Zürich RAA-G-01
People meditate; walls do not. It is hard to think the otherwise. However, wall paintings in Buddhist caves force us to dispense with this commonplace. Meditation is the subject of the murals of some Buddhist caves at Dunhuang, as the lecture will demonstrate. Here is the paradox. With inward mental focus its primary activity, meditation rarely involves looking at paintings. Meditation depicted in these caves was therefore not a visual aid for teaching meditation; nor were the embellished caves primarily created for the practice of meditation. So, that leaves us with a quandary. If meditation is the pictorial event taking place in the caves, who meditates? How does that meditation program work? Why create such a meditation program without a real-time meditator in the first place? And, all things considered, what is meant by saying that images meditate in a cave?
Eugene Y. Wang is the Abby Aldrich Rockefeller Professor of Asian Art at Harvard. His extensive publications range from early Chinese art and archeology to modern and contemporary art and cinema. He has received Guggenheim, Getty, and ACLS Fellowships. His book Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China garnered the Academic Achievement Award (2006) from Japan. He is the art history editor of the Encyclopedia of Buddhism (2004). His research encompasses issues of visual intelligence and inter-subjectivity. His current projects include the research and development of digital virtual caves that provide structured immersive guidance to Buddhist meditation.
The 8th Annual EU Workshop at the University of Zurich
Samstag, 5. November 2015, 9:50-18:00
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
Presentations in Japanese and English.The event is free and open to the public. As space is limited, prior registration is required. Please email alina.martimyanova@khist.uzh.ch to make a reservation
Mittwoch, 18. Mai 2016, 16:15
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
Methods of Documentary Filmmaking
Masterclass and Discussions with Film Director Kazuhiro Soda
Mittwoch, 13. April 2016, 18:15
Universität Zürich Zentrum (Hauptgebäude), Rämistrasse 71, KOL-G-217
Under the Ancestors' Eyes. Kinship, Status, and Locality in Premodern Korea
Buchvorstellung der Autorin
Martina Deuchler, Professor Emerita in Koreanistik, School of Oriental and African Studies (SOAS), University of London
Dienstag, 5. April 2016, 16:30
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
Harvard East Asian Monographs 378
Under the Ancestors’ Eyes presents a new approach to Korean social history by focusing on the origin and development of the indigenous descent group. Martina Deuchler maintains that the surprising continuity of the descent-group model gave the ruling elite cohesion and stability and enabled it to retain power from the early Silla (fifth century) to the late nineteenth century. This argument, underpinned by a fresh interpretation of the late-fourteenth-century Koryŏ-Chosŏn transition, illuminates the role of Neo-Confucianism as an ideological and political device through which the elite regained and maintained dominance during the Chosŏn period. Neo-Confucianism as espoused in Korea did not level the social hierarchy but instead tended to sustain the status system. In the late Chosŏn, it also provided ritual models for the lineage-building with which local elites sustained their preeminence vis-à-vis an intrusive state. Though Neo-Confucianism has often been blamed for the rigidity of late Chosŏn society, it was actually the enduring native kinship ideology that preserved the strict social-status system. By utilizing historical and social anthropological methodology and analyzing a wealth of diverse materials, Deuchler highlights Korea’s distinctive elevation of the social over the political.
Source: Harvard University Press
The Section for East Asian Art (Institute of Art History, University of Zurich) is honoured to host a book presentation on the occasion of a major achievement in the field of Korean humanities by Professor Emeritus Martina Deuchler (SOAS and UZH). Prof. Deuchler has been a leading figure in the studies of Korean history in the West for a number of decades. Her new book “Under the Ancestors' Eyes: Kinship, Status, and Locality in Premodern Korea“ (Harvard East Asian Monographs, 2015) is a celebration of years of extensive research that examines various aspects of Korean history from a new angle and contributes to our understanding of premodern Korean society.
Prof. Deuchler has kindly extended her expertise to the emerging field of Korean art history in Switzerland through her long-term cooperation with the Section of East Asian Art at the University of Zurich. She has taught classes on Korean culture at the department and given guest lectures on a number of occasions over the past years. As an invited expert, Prof. Deuchler has supported the survey of Korean objects of art and material culture conducted by the students and faculty.
The book presentation will take place at the Villa Schönberg, and will be followed by a reception. No prior registration is required to attend the presentation. However, please note that seating is limited.
International Symposium: Katagami in the West
18-19th March 2016
For full details see the symposium page.
The Japanese Layering of Modern Life
Colloquium with Prof. Dr. Martin Dusinberre (Chair of Global History, Zurich University) and Prof. Dr. Hans B. Thomsen (Chair of East Asian Art History, Zurich University)
March 11, 2016, 7 pm
Abstract:
The kimonos on display at the Johann Jacobs Museum highlight the importance of inner and outer layers in the telling of history. They ask, what can and cannot be seen, and what should and should not be shown?
In a brief lecture followed by Q&As, we use these questions to challenge the idea of a Japanese "path to modernity" and suggest instead some of the "interesting patterns" we can discern in the study of modern Japanese history.
Siehe auch die Homepage der Johann Jacobs Museum
Johann Jacobs Museum
Seefeldquai 17
8034 Zürich
Contact:
+41 (0) 44 388 61 90
office@johannjacobs.com
Inner and Outer Forms of 1930s Japan (Konferenz)
Konferenz begleitend zu der Ausstellung "Omoshirogara"
Samstag, 6. Februar 2016, 10:00 – 18:00
Johann Jacobs Museum (Seefeldquai 17, 8034 Zürich)
Die Ausstellung Omoshirogara — Japans Weg in die Moderne entstand auf Anregung und in Zusammenarbeit mit Prof. Dr. Hans B. Thomsen (Universität Zürich, Kunstgeschichte Ostasiens) sowie mit Studierenden der Kunstgeschichte Ostasiens: Sara Gianera, M.A., Leonie Thalmann, B.A., Fabienne Pfister, B.A., Anna-Barbara Neumann, B.A., Anjuli Ramdenee, B.A. und Alina Martimyanova, M.A..
Sprecher:
Hans B. Thomsen (Professor of East Asian Art History, University of Zurich)
Shigemi Inaga (International Research Center for Japanese Studies, Kyoto)
Yoshiko Inui (Hokkaido Tokai University)
James Ketelaar (University of Chicago)
Ryoichi Tobe (Teikyo University, Tokyo)
Siehe auch die Homepage der Johann Jacobs Museum
Shunga Shingon: "True Words" and Eros in Edo Popular Culture
Prof. Dr. James E. Ketelaar (University of Chicago)
Donnerstag, 4. Februar 2016 17:00 – 18:00
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
"Shunga" or "Spring Prints" is a general genre term that refers to the erotic woodblock prints that emerge with great popularity from the 17th century on in Japan. "Shingon" literally "true word," is a translation of the sanskrit term "mantra," and here refers to the phenomenon of the unification of sound and meaning in certain forms of performative utterances as practiced initially by esoteric Buddhists and later, as this paper argues, in a more broadcast fashion. This paper begins with a presentation of the 17th century work Shikidô Okagami [The Great Mirror of the Way of Eros] and argues for a combinative theory of Eros that includes Buddhism, Shinto and popular social practices. It then expands into a broader discussion of the roles of language and meaning in this discourse and concludes with a translation, and analysis, of one example of the mature form of this discourse.
Vortrag in englischer Sprache
The 7th Annual EU Workshop at the University of Zurich
Dienstag, 10. November 2015, 9:0-18:30
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich) GAP
Presentations in Japanese and English.The event is free and open to the public. As space is limited, prior registration is required. Please email alina.martimyanova@khist.uzh.ch to make a reservation
Dr. Lukas Nickel, SOAS (University of London)
Donnerstag, 12. März 2015, 14:00-16:00
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich)
Vortrag in englischer Sprache
Dr. Ariane Perrin
Montag, 30. März 2015, 18:15-19:45
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich)
Vortrag in englischer Sprache
The ritual shrine paintings (sadangdo 祠堂圖) of the Chosŏn period (1392-1910) were a substitute for the actual domestic shrine. They were used as a portable device to conduct Confucian-style ancestor worship when the officiant was away from home. While the ritual context is known, the actual use of these paintings during the rituals can only be speculated as there are no known textual sources about this category of painting.
Based on a corpus of 50 or so shrine paintings, this lecture will analyze various types of visual representations and recurring iconographical elements, some of which are imbued with a cosmological symbolism. Originally destined to be used in the strictly regulated rites of the upper class, we will see how the varied iconography of this category of painting reveal a gradual influence of the folk painting (minhwa 民畵) tradition, perhaps signifying its wider use and diffusion among the common people.
Dr. Heena Youn (SOAS, University of London)
Montag, 20. April 2015, 16:00-17:30
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich)
Vortrag in englischer Sprache
Modern scholarship has focused almost entirely on the study of ceramic figures produced for burial, primarily in early imperial China from the Qin dynasty (221-206 BCE) through to the Tang dynasty (618-907 CE). Although ceramic figures of human images largely dominated the production of ceramic sculptures in earlier periods, during the Han dynasty (206 BCE-220 CE) a new type of image appeared with the arrival of Buddhism in China. These religious images evolved slowly to become a distinctive genre represented in ceramic sculptures. Few examples of ceramic religious sculpture prior to the tenth century have survived. However, a substantial corpus of extant examples suggests that the production of ceramic religious figures across China flourished from the Song period onwards. For the past millennium, ceramic religious figures were used in a variety of contexts from temples to tombs throughout the country and even exported to East Asia, Southeast Asia and Europe. Their subjects vary from Buddhas, bodhisattvas and deified monks to Daoist deities, immortals and popular gods, providing substantial material evidence of the development of popular devotion and religious visual imagery in pre-modern China. This talk will explore a long, rich tradition of Chinese ceramic religious sculpture and offer a new understanding of the cultural and religious significance of this important but overlooked category of artifacts.
Kaoru Akagawa, Calligraphy Master
Dienstag, 5. Mai 2015, 13:00-15:00
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich)
Gastvortrag mit Workshop
This English-language workshop is free and open to the public. Participation by registration only. Please write to Departmental assistant in order to reserve a place (alina.martimyanova@khist.uzh.ch) Sponsored by the Section for East Asian Art, University of Zurich and by the Embassy of Japan in Switzerland
Dr. Stefan Mäder M.A., Archäologe, Luzern
Mittwoch, 6. Mai 2015, 19:00-20:30
Vortragssaal, Park-Villa Rieter (Museum Rietberg)
Indizien für die symbolische Wiedergabe des „Grossen Wagens“, der wohl auffälligsten Sterngruppe am Nordhimmel, reichen in China bis in die Jungsteinzeit zurück. Seit der Han-Zeit (206 v. Chr. – 220 n. Chr.) sind sie aus Grabzusammenhängen, sowie u. a. auf Kultgerät und Waffen kontinuierlich bis ins 19. Jh. verbreitet. Dasselbe gilt für die koreanische Halbinsel. So wurden die vermeintlich frühesten Belege für die bildliche Wiedergabe des „Grossen Wagens“ in Japan auf Schwertklingen, an der Decke der Grabkammer des Kitora-Kofun, Asuka, Nara-Präfektur, auf einer Schildkrötenskulptur im Shôsôin-Schatzhaus in Nara (alle um 700 n. Chr.) bislang als kontinentale Einflüsse gewertet und kaum weiter untersucht.
In Japan kommt der „Grosse Wagen“ häufig auf Bestandteilen der kriegerischen Offensiv- und Defensivbewaffnung bis ins ausgehende 19. Jh. vor. Die charakteristische Anordnung von 4 Sternen/Punkten im - teils verzerrten - Viereck/Quadrat/Rechteck kombiniert mit zwei bis drei Deichselsternen und einem Stern hinter dem Wagenkasten hat in Japan jedoch offenbar wesentlich tiefer reichende Wurzeln, als bisher angenommen. Anhand von seit 2009 neu entdeckten Indizien wird eine Schlüsselrolle japanischer Quellen für das bessere Verständnis sog. „megalithischer Kulturen“ der Jungstein- und Bronzezeit in Europa im Allgemeinen, sowie in der Schweiz im Besonderen aufgezeigt.
Jung-Ja Holm
Vortrag mit Filmbeiträgen über die Kultur des alten Korea und Korea heute
Dienstag, 12. Mai 2015, 14:00
Seminarraum, Villa Schönberg (Gablerstrasse 14, 8002 Zürich)
Anhand von ausgesuchten Filmen möchte dieser Vortrag ein über 5000 Jahre altes Korea vorstellen, das für eine faszinierende Verbindung aus Tradition und Moderne steht.
Vorgestellt werden die Buchdrucktechnik (200 Jahre vor Gutenberg), das koreanische Alphabet Hangul (Welterbe) sowie ein Bronze-Spiegel aus Korea vor der Zeitenwende, der als Maßstab in der Geschichte des Metallkunst-Handwerks gilt und die Astronomie Koreas, die 1800 Jahre älter als Astronomie Mesopotamiens ist. Im Anschluss daran wird über das heutige Korea berichtet. Südkorea ist auf dem Gebiet der innovativen Technik, Medizintechnik und IT weltführend. Diese rasante Wirtschaftsentwicklung beruht auf der 5000-jährigen Kulturgeschichte mit dem Gründungsgedanken des antiken Koreas 2333 v. Chr.: „Hongikingan“ (Leben und Handeln zum Wohle aller Menschen), der heute noch die Weltgemeinschaft inspiriert und diese davon profitiert.
Symposium zur Vernetzung des wissenschaftlichen Nachwuchses im Fach Kunstgeschichte Ostasiens
Freitag 29. und Samstag 30. Mai 2015
Das "Forum Ostasiatische Kunstgeschichte“ ist eine Initiative von akademischen Nachwuchskräften an deutschsprachigen Universitäten. Das Forum will der Ostasiatischen Kunstgeschichte im deutschsprachigen Raum, die als akademische Disziplin institutionell zwischen einer europäischamerikanisch geprägten Kunstgeschichte und den einzelnen Ostasienwissenschaften angesiedelt ist, eine eigene Plattform geben, um die Vernetzung des wissenschaftlichen Nachwuchses innerhalb des Faches zu stärken. Beginnend im Jahr 2012, wurde das Forum im Jahr 2013 zum zweiten und im Jahr 2014 zum dritten Mal abgehalten.
Im zweitägigen Symposium werden aktuelle Forschungsprojekte in Vorträgen vorgestellt und daran anknüpfend methodische und institutionelle Perspektiven des Fachs diskutiert. Die Initiative dient dem wissenschaftlichen Austausch all jener, die als Promovierende, Post-docs oder Vertreter/innen des akademischen Mittelbaus ihren Forschungsschwerpunkt auf der Kunstgeschichte und Archäologie Ostasiens (China, Japan, Korea, Taiwan) oder einem verwandten Gebiet haben. Daneben haben MA-, Lizenziats- und Magister-Studierende die Möglichkeit, ihre aktuellen Forschungsarbeiten in 5-minütigen Posterpräsentationen vorzustellen.
as performed by a Benshi Master
(Benshi are traditional Japanese performers who provide live narration for silent films)
Featuring: Ichirō Kataoka (Arts Council Tokyo)
Wednesday, December 10, 2014, 18:15–19:45
University of Zurich, Room KOL-F-121, Rämistrasse 71, Zurich, Switzerland
Tel: 043 344 5880
Performance in Japanese with English Subtitles
Free of charge and open to the public
Presentation and on-hands workshop
Tuesday, December 2, 2014, 15:15–16:45
University of Zurich
Seminarraum, Villa Schönberg, Gablerstrasse 14, Zurich, Switzerland
Tel. 043 344 5880
Presentation in Japanese and English, with English translation
Free of charge and open to the public
In collaboration with the Mie Prefectural Art Museum
Organised jointly by the Japanese Chamber of Commerce and Industry of Zurich and the University of Zurich and with sponsorship from the Japan Club Zurich, the Swiss Japanese Heritage Community and the Swiss-Japanese Chamber of Commerce
6:30–8:00 PM, November 26, 2014
University of Zurich, KOH-B-10, Rämistrasse 71, 8001 Zurich
Refreshments in the Foyer West Hall after the lecture.
Inquiries: Japanese Chamber of Commerce and Industry of Zurich Anniversary Affairs Office, e-mail: Gen.aoto@emilfrey.ch, Mobile: +41 (0)78 739 0684; applications by e-mail or phone in advance would be preferred.
Beschreibung:
Publishing in the Edo period supported the growth of Japanese culture and gave it shape. This lecture takes an exciting look at picture books, considered the close cousins of ukiyo-e woodblock prints. "Gozonji-no-shōbaimono" (1782) was written by Santo Kyoden, an author of light literature who was popular in the late Edo period. The layout is reminiscent of a manga comic book.
Prof. Mayumi Tsuda (PhD, Japanese liteature) is a specialist in classical Japanese literature, with a focus on Edo period novels. She obtained a doctorate in Japanese literature in 2001 from the Graduate School at Japan Women´s University. After lecturing at Japan Women´s University, Gakushuin University, and other institutions, as well as holding a research position at the national Institute of Japanese Literature, she joined the Keio University as an associate professor in 2008.
Friday, November 14, 2014, 12:15–13:45
University of Zurich, Room RAK-E-8, Rämistrasse 73, Zurich, Switzerland
Tel: 043 344 5880
Free of charge and open to the public
In collaboration with the Cabinet d'arts graphiques, Musée d'art et d'histoire de Genève
Freitag, 14. November 2014,14:30-16:00 Uhr
Seminarraum Villa Schönberg, Gablerstrasse 14, 8002 Zürich
Die Abteilung Kunstgeschichte Ostasiens des Kunsthistorischen Instituts der Universität Zürich lädt zu folgendem Workshop mit Dr. Diana Lange, Research Fellow am Institut für Indologie und Zentralasienwissenschaften der Universität Leipzig, ein:
Tibet visualisiert: Bilder als historische Quellen
Die in der Mitte des 19. Jahrhunderts von einem lokalen Künstler im Auftrag eines Briten angefertigten Zeichnungen, die heute zur Wise Collection der British Library gehören, eröffnen einen Einblick in die visuelle Darstellung von Regionaltopo-graphie und Alltagsleben eines grossen Teiles Tibets der betreffenden Zeit. Den Kern der Sammlung bilden sechs grosse Karten der Kategorie picture map, die den geographischen Raum zwischen Ladakh und Osttibet abbilden. Die Landkarten werden ergänzt durch zahlreiche Abbildungen von Zeremonien, Ritualen und ethnographischen Details.
Dr. Diana Lange nimmt die Kollektion in erster Linie als eine visuelle Enzyklopädie und als Kompendium von Wissen wahr und untersucht sie seit April 2013 im Rahmen des von der Gerda Henkel Stiftung geförderten Forschungsprojektes „Visuelle Dokumentation von Regionaltopographie und Alltagsleben im tibetischen Kulturraum in der Mitte des 19. Jahrhunderts: die Wise Collection der British Library“. Im Workshop wird sie die einzelnen Etappen ihrer Forschung und ihre methodischen Herangehensweisen vorstellen.
Kontakt: Anna Hagdorn, Tel: 043 344 58 83, anna.hagdorn@khist.uzh.ch
Gerne machen wir Sie auch auf Dr. Diana Langes Vortrag "Der Blick der Tibeter auf ihre Welt" am 13.11.2014 um 19:30 Uhr im Liechtensteinischen Gymnasium, Marianumstrasse 45 in Vaduz (Tibet-Unterstützung Liechtenstein) und am 14.11.2014 um 19:30 Uhr im Kulturzentrum Songtsen House, Albisriederstrasse 379, CH-8047 Zürich aufmerksam (Eintritt CHF 15.-, mit Legi halber Preis).
Universität Zürich, Ethnographisches Museum, Pelikanstrasse 40, 8001 Zurich
Anmeldung
Die Anmeldung bis 27. Oktober 2014 bitte über das Anmeldeformular auf der Seite des UFSP Asien und Europa
Beschreibung:
Histories and discourses of translation, and concepts of cultural translation are being continuously revised in a variety of disciplines. “Translation” also plays a crucial role in the research undertaken at the URPP Asia and Europe, both in its narrower meaning of translating between languages and in the conceptual implications of cultural translation. This conference investigates both notions of translation with regard to transfers between contexts in the entangled histories of Europe and Asia from an interdisciplinary and broad historical perspective.
We aim at bringing into dialogue differences and similarities in traditions and discourses of translation in Asia and Europe and to re-examine theoretical positions in translation studies for trans-cultural analyses. For instance, the Latin terms translatio and traduco, “to carry/bring across” and “to lead across,” from which English and the Romance languages take their terms, connote a movement from one context to another. Other historically, linguistically, and culturally contingent connotations of “translation” are found in Europe and in Asia, such as “(ex)change,” “movement,” “transmission,” “transformation,” “legitimation,” or “turning over.” Further challenges to translation theories arise with respect to processes of translation between different writing systems or between different languages that partially share a writing system. Such theoretical and historical considerations offer a point of departure to focus on specific contexts and media of translation; the transmission of knowledge between regions and cultures is one major focus of the conference and expands the notion of translation beyond its textual base to account for knowledge transfers based on maps, objects, and practices. Another emphasis is the spread of Buddhism from India throughout Asia, analyzing how religious concepts and practices were translated between languages and cultures, and how they were re-evaluated and adjusted over time. The concept of cultural translation will be examined with a focus on post-colonial perspectives in case studies addressing literature, film, photography, and illiteracy in the modern and postmodern period. Further expanding the notion of translation to the visual field, issues of interpretation, reception, and appropriation in aesthetic discourses, in developing a language for “national art”, and in studies of Asian art in Europe will be scrutinized.
Kansai University, Graduate School of Letters and University of Zurich, Section of East Asian Art
1. November 2014, 10:00-13:00
Seminarraum Villa Schönberg (GAP)
* Die Konferenzsprache ist Japanisch
PROGRAMM
10：00～11：00 Prof. Dr. Hans B. Thomsen (University of Zurich), 「スイスと日本の間の美術研究」”Placing Art between Japan and Switzerland”
11：10～11：30 坂本美樹 Miki Sakamoto (ABD, University of Kansai) “Differences in the Receptions of Sanjū-rokkasen and Hyakunin Isshū”
11：30～11：50 Fabienne Pfister (University of Zurich, graduate student in KGOA) 「プロパガンダ着物 ― 芸術的な現代性と思想的な発想」“Propaganda Kimono: Artistic Modernity and Ideological Expression”
11：50～12：00 Coffee break
12：00～12：20 中島小巻 Komaki Nakajima (ABD, University of Kansai) 「日中韓におけるアンフォルメル様式の展開と独自性」 “Informalism in East Asia: Its Development and Originality”
12：20～12：40 Cénit De Sousa (University of Zurich, graduate student in KGOA) 「リートベルク美術館での仙厓禅画の特別展について」 “Regarding the Zen Paintings by Sengai Shown at the Rietberg Museum”
12：40～13：00 Final Discussion
Moderators: Prof. Dr. Keiji Shibai 芝井敬司教授 (University of Kansai) and Prof. Dr. Tsuyoshi Hasebe 長谷部剛教授 (University of Kansai)
Donnerstag, 30. Oktober 2014
KO2-F-152
Das Hakuin Forum findet in Zusammenarbeit der Universität Zürich und der Hanazono University, Japan, statt.
PROGRAMM:
13:00-13:15 Introduction. Professor Hans Bjarne Thomsen (University of Zurich
13:15‐13:30 “Zen in Zurich: Sengai at the Rietberg Museum.” Cénit De Sousa (University of Zurich
13:30-14:15 “A Newly Discovered Hakuin Painting of the Bodhisattva Kannon (Avalokitesvara).” Professor Katsuhiro Yoshizawa (Hanazono University, Japan)
14:15-15:00 “Hakuin: Case Studies.” Professor Thomsen
15:00-16:00 Discussions on the Art of Hakuin. Professors Thomsen and Yoshizawa.
16:00-17:00 Japanese Tea Tasting in the Lichthof of the University
17:00~ Official reception in the Zoological Museum, sponsored by Rolex Japan
17-18. Oktober 2014, Zürich / St. Gallen
PROGRAMM:
09:00 - 09:30 Registration
09:30 - 10:00 Welcoming Remarks
10:00 - 12:30 Panel 1: Basic Concepts
Panel Chair: Prof. Dr. Bettina Gockel (University of Zurich)
DanielBaumann (Curator, Adolf Wölfli-Stiftung, Museum of Fine Arts Bern)
Outsider
Switzerland
Prof. Dr. Johann Feilacher (Director, Museum Gugging, Vienna)
Gugging: The Development from
Psychiatry to an Art Museum
Prof.Dr. Roger Cardinal (University of Kent)
Responding to Outsider Art
14:00 - 16:30
Panel 2: Japan and Art Brut
Panel Chair: Dr. Michaela Reichel (Director, Textilmuseum St. Gallen)
Prof. Satomi Yamamoto (Kyoritsu Women's University, Tokyo)
The
Construction of Discrimination, Dread, and Salvation: Depiction of Outsiders in
Japanese Medieval Narrative Handscrolls
Mario Del Curto (Art Brut Photographer)
Could Photography Reveal an Interior
World?
Prof. Dr. Shunroku Okudaira (Osaka University)
Omnipresence of Foreign Cultures:
Original Images of Assorted Sages
17:00 - 17:30 Special Greetings
Vice-Ambassador Yukihiro Nikaido (Japanese
Embassy in Switzerland)
Prof. Dr. Andreas H. Jucker (Dean of the Philosophical
Faculty, University of Zurich)
Dr. Peter Schorer (President, Foundation Board,
Museum im Lagerhaus/Stiftung für schweizerische Naive Kunst und Art Brut)
17:30 - 18:30 Keynote Speaker
Edward M. Gomez (Senior Editor, Raw Vision)
Japanese
Art But: The International Context
Samstag, 18. Oktober
St. Gallen, Architektur Forum der Ostschweiz at Lagerhaus Google Maps
09:45 - 10:00 Welcoming Remarks
10:00 - 12:30
Panel 3: Art Brut as Exhibition
Panel Chair: Dr. Daniel Studer (Director, Historisches und Völkerkundemuseum, St.
Gallen)
Mizue
Kobayashi (Art Director, Aiseikai Tokyo)
The Birthplaces of the Fascination
and the Artworks of Japanese Art Brut
Sarah
Lombardi (Director, Collection de l'Art Brut, Lausanne)
The Collection de
l'Art Brut and the Dissident Productions of Japan: Encounters and
Collaborations
Kengō
Kitaoka (Chairperson, Shiga Prefectural Social Welfare Organization)
The
Cooperation of Governmental Agencies in the Promotion of Art Brut in Japan
14:00 - 15:00
Panel 4: Art Brut in the
Academia
Panel Chair: Kathrin Linder (Museum im Lagerhaus)
Prof.
Dr. Bettina Gockel (University of Zurich)
Out is In. History and Methods of "Outsider-Art" in the Mirror of persisting Dualisms
Sarah
Rebecca Schmid (Student, University of Zurich)
The Biographies of Art Brut
Artists - A Closer Look
15:00 - 16:30 Final Discussions and Remarks
Montag, 13. Oktober 2014
Die Veranstaltungen findet im Seminarraum der Villa Schönberg jeweils um 14:00 Uhr und 16:00 Uhr statt. Da die Teilnehmerzahl begrenzt ist, bitten wir um vorige Anmeldung per E-Mail bei Sabine (Sabine.Bradel@khist.uzh.ch). Weitere Informationen sind auf untenstehendem Flyer zu finden.
Donnerstag, 12. Juni 2014, 18:30 Uhr
KOL-F-104 (Hauptgeäude der Universität Zürich, Rämistrasse 71)
Samstag, 3. Mai 2014, 11 Uhr
Hauptgebäude der Universität Zürich, Raum KOH-B-10
Eine Veranstaltung der Universität Zürich, der Botschaft von Japan in der Schweiz, und Urasenke Tankokai Zürich im Rahmen der Feiern zum 150-jährigem Jubiläum der diplomatischen Beziehungen zwischen Japan und der Schweiz.
Kontakt: Urasenke Tankokai Zürich
Dienstag, 20. Mai 2014, 18:15 Uhr, KOL-G-204 (Hauptgebäude der Universität Zürich)
13. März 2014
Seminarraum der Villa Schönberg, Gablerstrasse 14, 8002 Zürich (GAP)
Anmeldungen bitte bis 12. März per Email an Natasha Fischer-Vaiya: natasha.vaidya@uzh.ch
Thema:
In the last years we have seen a fundamental shift in the idea of reading. Due to the Internet and modern technologies we read less books, letters and newspapers and more screen images, text messages, and emails.
The organizers of this symposium believe that it is vital, at this fundamental shift in reading and learning habits, to gather a historical and theoretical understanding of how we have been reading images and how we have been imaging reading over the last centuries. This international symposium is focused on the study and scholarly discussion of the act of reading, as it is depicted in visual media – in books, paintings, manuscripts and other formats. It is the belief of the organizers that the history of reading is incomplete without references to its visual aspects. The focus of the talks will be on phenomena from the 18th to the 21st centuries in both Japan and in Europe, as well as the intercultural connections we see between two worlds.
One important theme of the symposium is to examine the different mechanisms and agendas utilized in both cultural spheres and the exploration of differences and similarities. Through this study, we hope to come to a better understanding of the phenomena of imaging reading and the act of reading itself.
The symposium will comprise three experts from Europe and two experts from Japan, in addition to the two organizers, Professor Alfred Messerli and Professor Hans Bjarne Thomsen, both from the University of Zurich.
Programm:
09:00-09:30: Prof. Dr. Alfred Messerli (University of Zurich)
Grundlagen, Methoden und Ansätze einer Auswertung von Bildquellen für eine Geschichte der Kulturtechnik Lesen
09:30-10:00: Prof. Dr. Hans B. Thomsen (University of Zurich)
Reading the Nation: Ninomiya Sontoku and Japanese Imperial Education
10:00-10:30: Prof. Dr. Dr. h.c. Fritz Nies (Professor Emeritus, Heinrich Heine University Düsseldorf)
Typisch amerikanisch? Leserbilder aus den USA
10:30-11:00: Prof. Yasuhiro Sato (University of Tokyo)
Examples of Images Reading Books in Japanese Art
11:30-12:00: Prof. Dr. Christine Ott (Goethe University Frankfurt a.M.)
Die Metapher der Bibliographie und ihre erkenntnistheoretisch-metaliterarischen Funktionen in der Moderne (mit einem vergleichenden Blick aufs Mittelalter)
12:00-12:30: Prof. Dr. Ursula Renner-Henke (University of Duisburg-Essen)
Lese-transparencies
12:30-13:00: Prof. Yukata Yabuta (Kansai University)
The Japanese Reading Image as Seen through 19th Century Educational Texts
15:00 - (open end) Round-table discussion
(Die Vorträge finden in deutscher, englischer, und japanischer Sprache statt.)
Sonntag, 24. November 2013, Seminarraum Villa Schönberg
Programm
10:00-10:50: Akiyama Akira (Tokyo University)
“Hikaku shūkyō bijutsushigaku no kokoromi“ (“An Attempt of the Study of Comparative Religious Art History”)
10:50-11:40: Itakura Masaaki (Tokyo University)
“Higashiyama Gyobutsu – Ashikaga shogun-ke no Chūgoku kaiga“ (“Higashiyama Gyobutsu – Chinese Pictures in the Ashikaga Shogunal Family“)
11:40-12:30: Takagishi Akira (Tokyo University)
“Muromachi jidai no kōbu kankei to korekushon“ (“The Relationship and Collections of Imperial Court and Shogunate in the Muromachi Period”)
14:00-14:50: Melanie Trede (University of Heidelberg): „Kioku no ba toshite no shahō: Hakozaki Hachimangū engi emaki no kōsatsu” (“Shahō as places of memory: A Study of the Hakozaki Hachimangū Engi Emaki”)
14:50-15:40: Estelle Leggeri-Bauer (INALCO)
“Te no naka no korekushon – monozukushi, yoriaigaki ya imēji no chirashi“ (“The Collection Within The Hand – Writings on Monozukushi, Yoriaigaki and Images”)
16:00-16:50: Hans Thomsen (University of Zurich)
“Ibutsu no shoseki: Edo jidai no tekagami to Kohitsu-ke wo megutte” (“The Word as Relic: Early Modern Tekagami Collections and the Kohitsu Family”)
Final Discussion
Die Vorträge finden in japanischer und englischer Sprache statt.
Am 25. und 26. November finden am Kunsthistorischen Institut der Universität Freiburg ein Vortrag und ein öffentliches Seminar unter Beteilung von Professor Thomsen und japanischer Gastprofessoren statt:
25. November 2013
Öffentliches Seminar: Japanese Moving Arts through the Centuries: From Flying Buddha Images to Steamship Cargos
Professor Hans B. Thomsen (Universität Zürich)
Professor Akira Takagishi (Universität Tokyo)
13:15 Uhr, MIS 2120 FlyerThomsenTakagishi (PDF, 227 KB)
26. November 2013
Vortrag: Invitation to Comparative Religious Art History: Mainly on Relic Insertion and Rituals Involving Statues
Professor Akira Akiyama (Universität Tokyo)
15:15 Uhr, Miséricorde Kinosaal 2029 Flyer Akiyama (PDF, 1485 KB)
Weitere Informationen zu beiden Veranstaltungen hier.
Dr. Anna Lehninger (Universität Zürich) & Prof. Hans B. Thomsen (Universität Zürich)
Dienstag, 23. April 2013, 17:30 Uhr, Raum KOL-E-21 (Hauptgebäude Universität Zürich, Rämistrasse 71)
The Archive of Children's Drawings is part of the collection of the Stiftung Pestalozzianum and contains about 50 000 drawings of children and youth from the 18th to the 21st century. The talk gives an insight into the Swiss and international collection, which were brought to Zurich from 1932 onwards, originating from international drawing competitions and school exhibitions.
Dr. Anna Lehninger studied History of Art at the University of Vienna and received her PhD from the University of Bern in 2009 for a dissertation on Embroidered Autobiographies of Women in Psychiatric Asylums in the 19th and 20th Century. She has curated exhibitions on Ida Maly in Graz, Hartheim, and Washington D.C. and was editorial assistant for the Swiss publication Album for the Biennale in Venice in 2007. Since 2012 she has been a post-graduate fellow at the Institute for Popular Culture at the University of Zurich working on the project Commercial Drawing Competitions for Children in Switzerland between 1935 and 1985.
Marie Kakinuma (Doktorandin am Kunsthistorischen Institut der Universität Zürich, Kuratorin der Ausstellung Vom Japonismus zu Zen: Paul Klee und der Ferne Osten, Zentrum Paul Klee, Bern)
Donnerstag, 25. April 2013, 18:30 Uhr, Hörsaal KOL-F-118, Hauptgebäude der Universität Zürich, Rämistrasse 71.
March 7 - 9, 2013
17:30 pm: Introduction Speeches and Opening Remarks: Prof. Dr. Hans Bjarne Thomsen (University of Zurich), His Excellency Ryuhei Maeda,the Ambassador of Japan in Switzerland, Dr. Michaela Reichel (Director, Textilmuseum St. Gallen)
18:00: Keynote Address, Professor Timon Screech (SOAS):
"Moving Screens in the Early Edo Period: Edo, Sunpu, Kyoto and London in 1613-15"
followed by a reception (Obere Mensa)
9:00 - 11:00: Panel 1 Europe and East Asia
Panel Chair: lic. phil. Jeanne Egloff (PhD Fellow University of Zurich, URPP Asia and Europe
11:20 - 13:20: Panel 2 Japanese Objects in the West, part 1
Panel Chair: Dinah Zank, M.A. (PhD Fellow University of Zurich, URPP Asia and Europe)
14:30 - 14:30: Panel 3 Japanese Objects in the West, part 2
Panel Chair: Sabine Bradel, M.A. (Ph.D. Student and Assistant, University of Zurich)
17:00 - 19:00: Panel 4 Swiss Museums and Collections, part 1
Panel Chair: Sara Gianera B.A. (University of Zurich)
The Burgdorf Völkerkunde Museum and the KGOA Project
Roundtable discussion with:
9:00 - 11:00: Panel 5 Swiss Museums and Collections, part 2
Panel Chair: Julia Orell, PhD (Assistant, University of Zurich)
11:20 - 13:20: Panel 6 Swiss Museums and Collections, part 3
Panel Chair: Simone Griessmayer, M.A. (Assistant, University of Zurich and PhD Candidate University of Heidelberg)
Venerable Dr. Yifa, Ph.D.
Montag, 6. Mai 2013, 18:30 Uhr, Seminarraum der Villa Schönberg (Museum Rietberg, Gablerstrasse 14)
10. - 12. Mai, 2013. Seminarraum Villa Schönberg, Gablerstrasse 14.
Organized by the URPP Asia and Europe. Further information and symposium program can be found here.
11. Dezember 2012, 19 Uhr (Einlass ab 18:45 Uhr)
Universität Zürich, KO2 F-180, Karl-Schmid-Strasse 4
Eintritt frei
Die Veranstaltung wird unterstützt durch die Japan Foundation.
17. November 2012, 10.30 - 15 Uhr
Remise Atelier 2, Museum Rietberg, Gablerstrasse 15, 8002 Zürich
Examining the Glittering World of Yoshiwara, the Pleasure Quarter of Edo
Mittwoch 5. September 2012, 19:30 Uhr, Vortragssaal Park-Villa Rieter, Museum Rietberg
Suzuki Harunobus Frauendarstellungen und der Beginn des Vielfarbendrucks
Mittwoch 18. Juli 2012, 19:30 Uhr, Vortragssaal Park-Villa Rieter, Museum Rietberg
Vortragsreihe
Art, Artists, Artifacts in 17th and 18th Century Japan
20. Juni 2012. Mit Vorträgen von Melanie Trede, Hans Thomsen, Matthew McKelway, und Anton Schweizer.
The Making of Modern Indian Artist-Craftsman
Sonntag, 20. Mai 2012, 11 Uhr, Vortragssaal Park-Villa Rieter
Words on Images: Titles on Chinese Paintings
Montag, 23. April 2012, Seminarraum Villa Schönberg
9. - 23. März 2012
A Philosophical Critique of Traditional Chinese Architecture
Mittwoch, 7. Dezember 2011, 19 Uhr, Seminarraum Villa Schönberg
The Pleasures of Print: Illustrated Songbooks from the Late Ming Courtesan World
Mittwoch, 29. Juni 2011, 18:15 Uhr, KOL-E-21
Jade and Chinese Culture: An Art Historical View
Mittwoch, 22. Juni 2011, 19:30 Uhr, Vortragssaal Park-Villa Rieter
Living by the Sword. Anime und die Kultur der Samurai
Donnerstag, 10. März 2011, 18 Uhr, Kulturzentrum der Japanischen Botschaft, Bern
Bronze- und eisenzeitliche Entdeckungen in der Wüste Taklamakan, Nordwestchina
19. Mai 2010, 16:30 Uhr, Raum KO2 F-175 (Karl Schmid-Strasse 4)
A Buddhist Testimonial: Votive Tablets in Southeast Asia
2. Juni 2010, 14 Uhr, Seminarraum der Villa Schönberg
Die Gesellschaft des frühmodernen Japans gesehen durch Prozessionsdarstellungen (Vortrag in japanischer Sprache)
Samstag, 3. Oktober 2009, Seminarraum der Villa Schönberg
The KGOA successfully held a document reading workshop on September
7-11, 2009. The workshop centered on the reading of Japanese
inscriptions (kuzushiji), specifically those on works of art, on
narrative handscrolls, paintings, and woodblock printed books and
sheets. The workshop was held in collaboration between the University
of Zurich and the National Museum of Japanese History (Rekihaku) and was
made possible through the generous funding from the Japan Foundation.
This year's workshop will be devoted to introducing research material
and methods and to reading materials from the Tokugawa period. The
workshop (the first annual workshop in what we hope will be a yearly
tradition) was ably led by Professor Hiroshi Kurushima of the National
Museum of Japanese History. Participants came from all over the world,
including Japan, USA and Europe, including students from the University
of Zurich. We were also treated to a tea ceremony by the tea master Ms.
Kaori Miyanishi Reitinger, also a participant of the workshop.
The images below are posted with thanks to Ms. Esther Fischer and Ms. Annegret Bergmann
