Yan Jin, April 12th

Title: “Reflective Surface and Reflection: The Qianlong Emperor’s Mirror Table Screen”
Abstract: This paper takes one pair of table screens as a point of departure, in order to examine the many glass mirror table screens that became an essential element of the interior program of Qing imperial spaces and beyond and was especially favored by the Qianlong emperor (reigned 1736-95). Instead of using the more traditional materials such as inkstones, jade ornaments, or slabs of rock for central panels, painted glass mirrors were employed, thereby giving the screens the ability to incorporate the viewer’s image into the visual presentation. Scholars have briefly mentioned these screens as examples of “occidenterie” that demonstrate the emperor’s taste for the West. Their discussions tend to focus on how Chinese art of the early modern period integrated foreign concepts or to what extent were these concepts and techniques incorporated into the production of Qing court art; yet, the questions of how these objects were able to engage their owner / user, both physically and conceptually, is seldom explored. Following this line of inquiry, I hope to shed light on how the materiality of the screens, made possible by the cultural exchanges between China and Europe, offered the Qianlong emperor an alternative mode of seeing and contemplating the self.

Schedule for Spring 2019

Visual and Material Perspectives on East Asia is proud to present our schedule for Spring 2019

 

Sessions of this quarter will take place on Fridays 4:30-6:30pm (unless otherwise noted) in a variety of locations at the Cochrane-Woods Art Center(CWAC).

 

April 12, Yan Jin, MAPH Student

Humanities Division, University of Chicago.

“Reflective Surface and Reflection: The Qianlong Emperor’s Mirror Table Screen.”

*In CWAC 153

 

 

May 8, Nancy P. Lin, PhD candidate

Department of Art History, University of Chicago.

“Going Outdoors: Keepers of the Waters and Experiments in Site-Based Art Practice in the 1990s.”

(Joint-event with RAVE, in CWAC 152, Wednesday, 4:30pm – 6:00pm)

 

May 17, Zhiyan Yang, Ph. D Candidate

Department of Art History, University of Chicago.

“’The Work Didn’t Exist Before Its Publication’ – Architectural Journals During the Transitional Period (1979 – 200x).”

*In CWAC 152

 

May 24, Pan Li, Professor

Visiting Scholar, Department of Art History, University of Chicago.

“Tsuguharu Fujita’s ‘Marvelous creamy white.'”

*In CWAC 152

 

Ma​y​ ​30​, ​Stanley Abe​, ​Associate Professor of Art and Art History​

Department of Art, Art History & Visual Studies, Duke ​University.

“Imagining Sculpture.”

*In CWAC 153 or 152(TBD), Thursday, 5pm-6:30pm

 

We look forward to your attendance and hope you will share this with all who might also be interested in joining our community. Please direct questions and inquiries to Dongshan Zhang at dongshan@uchicago.edu.

 

Dongshan

[Special Joint Event with APEA] Friday, 3/1 at 3pm: So Hye Kim

Dear all,
Please also find our following special joint event with APEA, early in the afternoon, this Friday.
So Hye Kim 
(PhD Candidate, EALC)
“Beyond the Divided Korea: Zhang Lu’s Dooman River (2009)”
Friday, March 1st, 3 – 5PM
Location: Wieboldt 301N (EALC Seminar Room)
*Please note the time and location
So Hye offers the following description: 
Zhang Lu (1962-), is one of the most emblematic diaspora filmmakers in South Korea today. In the five feature films which he released between his debut in 2004 and 2008, Zhang portrays ethnic Koreans across China, Korea and Mongolia who are pushed by inexorable forces to the peripheries of, and boundaries between nation-states. In 2009 Zhang returned to his hometown near the North Korean-Chinese border to film Dooman River, a work that depicts encounters between two distinct diasporic groups: ethnic Koreans in China, who form a cultural and linguistic enclave with certain autonomy from mainstream Chinese society, and North Korean refugees, who cross the border to survive the rampant hunger of their isolated homeland. This talk argues that Dooman River uncovers new forms of transnational practices of cinematic imagination and spectatorial experience which reach beyond the divided Korea. To be specific, this talk analyzes the ways in which the film’s text embodies border-crossing both in its narrative and cinematic form and invites spectators to experience the border-crossing by viewing the film.

March 1st, Jeehey Kim

Visual and Material Perspective On East Asia is proud to present Jeehey Kim, Postdoctoral Instructor, Department of Art History, University of Chicago, this Friday, March 1st . Please notice the unusual time of the event: 5pm at CWAC 156.

Here are out speaker’s title and abstract:

 “Commemorating the Dead through Photography in East Asia.”

 “One can find ancestral portrait paintings of East Asia in museums, exhibitions, and even antique shows on television. Then, where are funerary portrait photographs to be found? They are at home, funerals, annual memorial services, as well as in national memorial halls, courts and protests on street. My project started with a question of “when and how was the commemorative use of portrait painting transformed into photographic medium in East Asia?” This paper draws upon my dissertation titled “Death and Photography in East Asia: Funerary Use of Portrait Photography,” which compares the practice of funerary photo-portraiture in China, Korea, Japan, Taiwan, and Vietnam by examining the basic concepts underpinning it. I argue that funerary portrait photographs signal the absent presence of the deceased, testifying to the existence of invisible ancestral spirits. The first part of this paper explores how the commemorative use of one’s likeness gave birth to funerary portrait photography, while the rest addresses the ways in which funerary portrait photography structures national identity and collective memory in East Asia.”

(The event is sponsored by the Center for East Asian Studies, University of Chicago)

If you need assistance, please contact Dongshan Zhang: dongshan@uchicago.edu

Thank you.

Best wishes,

Dongshan

February 8th, Yueling Ji.

Visual and Material Perspective On East Asia is proud to present Yueling Ji, Ph. D student from Department of East Asian Languages and Civilizations, University of Chicago, this Friday, February 8th. The time and venue is as usual: 4:30pm at CWAC 156.

Title: “Queering the Sino-Soviet Alliance Posters”

Abstract:

During the 1950s and under the Sino-Soviet Treaty of Friendship, artists from China and the USSR made a number of Sino-Soviet alliance posters. The posters typically portray the physical intimacy between a white Soviet man and a Chinese man. They hold hands, embrace each other, and care for the boys of the two countries. These posters resurfaced in internet communities of the early 2010s, as activists and fan artists from Philadelphia to Shanghai picked up on the visual language of mixed-race same-sex intimacy and kinship. The images were repurposed as a sort of communist homoerotic art, and widely circulated online as gay rights activism.

My project aims to track the two lives of Sino-Soviet alliance posters. Following the end of the Second World War, Sino-Soviet alliance posters ambitiously campaigned for masculinity, patriarchal lineage, and family building under socialism. But the unexpected role of Sino-Soviet alliance in gay rights activism today suspends the heterosexuality of historical socialist states, producing a fictional coalition between Cold War communism and Western liberalist sexual politics. It is with such a retroactively projected heritage that I hope to investigate socialist and neoliberal conceptions of family, sex, and race, and reevaluate the homonormativity of sexual politics today.

Persons with concerns regarding accessibility please contact Dongshan Zhang at dongshan@uchicago.edu

(This program is sponsored by the University of Chicago Center for East Asian Studies)

Minori Egashira, Jan. 25

4:30pm at CWAC 156.

Title: “Risō Sculptures in Meiji Japan: Takenouchi Hisakazu’s Gigeiten and the Nihonga Style”

Abstract: This paper is a work-in-progress that attempts to examine Takenouchi Hisakazu’s 竹内久一 (1857–1916, alt. Takeuchi Kyūichi) wooden sculpture Gigeiten 伎芸天 (The Divinity of the Arts, Gigeiten, 1893) as one of the first riso 理想 sculptures, a distinctive characteristic that is strongly associated with nihonga paintings and intellectual Okakura Kakuzō 岡倉覚三 (alt. Okakura Tenshin 岡倉天心, 1862–1913). Takenouchi, influenced by Okakura, attempted to integrate the Western sculptural style to the already-existing “traditional” style in Japan. This approach and idea was supposed to become an “ultimate” style that Japan could call its own. While this style did not succeed in becoming permanent in Japan, I argue that the Gigeitenwas not only a sculpture but also a “vision” for Japanese sculptural art going forward. For this presentation, as I am still in the process of researching certain aspects that relate to the risō and nihonga paintings, I will present on how I first came to study this concept as a whole, as well as presenting on my current progress in my research.

Persons with concerns regarding accessibility please contact Dongshan Zhang at dongshan@uchicago.edu

 

(This program is sponsored by the University of Chicago Center for East Asian Studies)

Winter 2019 Schedule: Visual and Material Perspectives on East Asia

Visual and Material Perspectives on East Asia is proud to present our schedule for Winter 2019

 

 

All sessions unless otherwise noted will take place on Fridays 4:30-6:30pm in the Cochrane-Woods Art Center (CWAC) Room 156

 

January 25, Minori Egashira, Ph. D Student

Department of Art History, University of Chicago

Risō Sculptures in Meiji Japan: Takenouchi Hisakazu’s Gigeiten and the Nihonga Style.”

 

 

February 8, Yueling Ji, Ph. D Student

Department of East Asian Languages and Civilizations, University of Chicago

“Queering the Sino-Soviet Alliance Posters.”

 

February 21, Jenny Lee.

(Cancelled).

 

March 1, Jeehey Kim, Postdoctoral Instructor

Department of Art History, University of Chicago

“Funerary Photo-portraiture in East Asia.”

 

March 1, (Special Joint Event with APEA)So Hye Kim, PhD Candidate,

EALC, University of Chicago

“Beyond the Divided Korea: Zhang Lu’s Dooman River (2009)”

We look forward to your attendance and hope you will share this with all who might also be interested in joining our community. Please direct questions and inquiries to Dongshan Zhang at dongshan@uchicago.edu.

 

Alice Casalini, Dec. 7

4:30pm at CWAC 156.

Title: “Framing Gandhāran Art: Space Construction in Narrative Reliefs”

 

The question of influence in the buddhist art of Gandhāra, a region comprising part of modern-day Pakistan and Afghanistan, has been the object of heated debate for decades: the quest for sources – of style, of imagery, of content – has been variously identified in Greece, Rome, Parthia, India. In an effort to both move away from and reassess the thorny issue of influence, this paper brings the physical and conceptual margin at the center, and focuses on framing devices. Specifically, it will investigate the employment of architectural elements at the boundaries and as the boundaries of devotional space in narrative reliefs that were once attached to stupas. It will be argued in favour of the necessity of a critical and systematic evaluation of the style and meaning of these framing devices within the cultural milieu of early Buddhist art in the north-western Indian regions.

 

Persons with concerns regarding accessibility please contact Dongshan Zhang at dongshan@uchicago.edu

Huiping Pang, Nov. 16

4:30pm at CWAC 156.

 

Title: A Garden Painting during the Bloody Donglin Purge ca. 1625-1627

 

Abstract: Significant research in recent decades illuminates how officials in Ming imperial China (1368–1664) climbed the social ladder through collegial garden festivities, and how garden paintings, ​as ​commemorative byproducts of these gatherings, integrate natural beauty and political harmony. This paper expands upon existing scholarship by exploring a different type of garden painting, one that portrays properties constructed during the imperial massacre of 1625–1627. In an era scarred by blood, factional struggles, and eunuch persecutions against Donglin Academy members, gardens owned and named by Donglin sympathizers covertly broadcast camouflaged political messages. This paper uses the garden painting for Chen Jiru as a case study to show that some late-Ming gardens served as private refuges from political murders, as well as protests against imperial violence targeting Donglin scholars.

 

Persons with concerns regarding accessibility please contact Dongshan Zhang at dongshan@uchicago.edu

(This event is sponsored by the Center for East Asian Studies of University of Chicago)

Best Regards,

Dongshan

Yukio Lippit, Nov. 9

November 9. 4:30pm at CWAC 156.

 

Title: “Mokuan’s Four Sleepers: The Ultimate Zen Painting.”

 

Abstract: The twelfth through fourteenth centuries witnessed a flourishing Chan/Zen macroculture that spanned the China Sea in all directions and witnessed thousands of Japanese monks travel to monastic centers in the Jiangnan region for study and training. The legacy of the monk-painters that emerged within this interregional sphere are preserved in scores of ink paintings in Japanese collections. This lecture does a deep dive into the artistry of the Zen monk-painter through a reading of Mokuan Reien’s The Four Sleepers (Shisui zu 四睡図), one of the most celebrated works of its kind. Mokuan’s painting showcases several of the unique ways in which Zen painting developed subject matter, appropriated folkloric visual culture, paired words and images in complementary (or more often contradictory) ways, and positioned itself in mutualism to literati painting.

(This program is sponsored by the University of Chicago Center for East Asian Studies)