China

Dear all,

We are excited to announce our fifth and last workshop of the fall quarter, taking place Wednesday, November 29, from 4:45-6:45pm CT at CWAC 152. This event will be featuring:

Sijia Huo

Visiting PhD Candidate, UChicago

National Institute for Advanced Humanistic Studies, Fudan University

Who will be presenting on:

“The Materiality and Spatial Context of the Tiantang Colossal Buddha Statue in Luoyang in the Late 7th Century”

Discussant: Wei-Cheng Lin

Associate Professor of Art History and the College, UChicago

For those who are joining on Zoom, please register at this link (password: 000000). Please see below for the abstract and bio for Sijia’s presentation.

Let’s finish the quarter strong and we ~Hope to see you there!~

Yours,

Alan & Yan

Image: Archaeological fieldwork at the central pit of Tiantang in the 1970s

Abstract

Not long before Wu Zetian officially ascended the throne, a magnificent building called “Tiantang” was built in the Palatine City of Luoyang, in which a colossal Buddha statue was placed. This colossus existed for only a few years before being completely destroyed by a fire. Although there are some relative historical records and archaeological evidence, it is still a challenge to depict such an object that could no longer be accessed physically. One of the most thorough previous historical studies is from Antonino Forte. After scrutinizing the text resources in detail, he proposed that the “Tiantang” was an essential part of the “Mingtang” complex, and explained its significance as a Buddhist utopia. At the time he was conducting his research, the archaeological report on the site of “Tiantang” had not yet been published. With great respect to Forte’s extraordinary work, this paper will focus on the materiality and spatial context to further explore the various details during the construction process of the colossal statue and the architecture. I contend that the colossal hollow dry lacquer statue was made in parts, and then assembled in Tiantang with the support from the central pillar structure. In this way, the designer of Tiantang succeeded in integrating a colossal Buddha statue with a great tower. By examining the relationship of Tiantang, Wucheng Hall and Mingtang, it can be concluded that Wu Zetian created a completely new ruling space for herself. On the basis of these analysis, we may expect to clarify the differences between the discourse presented in historical records and the practice of making the statue and surrounding complex.

Bio

Sijia Huo is a PhD candidate of National Institute for Advanced Humanistic Studies, Fudan University. Her research interests include Buddhist art and stone inscriptions in medieval China. She is working on her PhD dissertation about colossal Buddha statues in the Tang Dynasty.

Wei-Cheng Lin teaches in the Department of Art History at the University of Chicago. He specializes in the history of Chinese art and architecture with a focus on medieval periods. His primary interests of research are visual and material cultural issues in Buddhist art and architecture and China’s funerary practice through history. He is the author of Building a Sacred Mountain: The Buddhist Architecture of China’s Mount Wutai, published by the University of Washington Press in 2014. He has additionally published on a variety of topics, including collecting history, photography and architecture, historiography of Chinese architectural history, and contemporary Chinese art.

Please join us on Wednesday, November 8, from *5:15-7:00pm CT* at CWAC 152, for our third meeting of the quarter, featuring:

Paul Copp

Associate Professor in Chinese Religion and Thought, East Asian Languages and Civilizations, UChicago

Who will be presenting the paper

“Deity Seals in the Securing of the Dead (First Centuries CE)”

Discussant: Zhenru Zhou

Postdoctoral Fellow, School of Architecture, Tsinghua University

Please note that there is a pre-circulated paper for this workshop, available here under the password “sealed”.

If you wish to join on Zoom, please register at this link (password: 000000).

*Please also note the slightly later start time of this workshop due to an event hosted by the Japanese Art Society of America and featuring Chelsea Foxwell at 4pm CT, related to the exhibition “Meiji Modern: Fifty Years of New Japan” (please find more information about this webinar at the end of this post).

We look forward to seeing you in CWAC 152!

Abstract

This is a chapter from an in-process book titled *The Ritualist’s Seal: Object, Practice, and Knowledge in China, ca 100 – 1000 CE.* The book covers materials from Eastern Han tombs to Dunhuang manuscripts, making an argument for the importance of seals in Chinese religious history, the ways they transformed both material ritual practices and philosophical conceptions of the nature of reality (and of the human relationship with it) in both Buddhist and Daoist texts. The chapter I’d like to present is a study of the earliest appearances of ritual seals in China: in Eastern Han tomb assemblages for the “securing of the grave” 鎮墓, whether as actual seal matrices or sealings, or as descriptions in texts included in the assemblages. It’s based in archaeological reports and seal collections (mostly from the 19th and early 20th centuries), but also draws heavily on both art historical and environmental historical studies. Among other things, the paper argues that seals were not—as they have usually been understood—the seals of local human ritualists, but instead the seals of deities placed in the tombs in order to make present their powers and intentions.

Bio

Paul Copp teaches in the Department of East Asian Languages and Civilizations at the University of Chicago. He is the author of The Body Incantatory: Spells and the Ritual Imagination in Medieval Chinese Buddhism, and the co-editor (with Wu Hung) of Refiguring East Asian Religious Art: Buddhist Devotion and Funerary Practice. His paper for the workshop is drawn from his current book project, “The Ritualist’s Seal: Object, Practice, and Knowledge in China, ca. 100 – 1000.

Zhenru Zhou is a post-doctoral fellow at the School of Architecture, Tsinghua University, Beijing, China. She recently received a Ph.D. degree in art history from the University of Chicago. She specializes in premodern Buddhist art and architecture in China and along the eastern silk roads.

*At 4pm CT, there will be a live zoom webinar “Exhibiting Meiji Art and Culture: Curatorial Perspectives”, in which Professors Bradley Bailey, Chelsea Foxwell, and Takuro Tsunoda will be giving individual presentations on Meiji Modern: Fifty Years of New Japan and the exhibition The Development of Visual Culture in the Meiji Era recently held at the Aichi Prefectural Museum of Art in Nagoya and discuss their challenges, goals, and future aspirations for exhibiting Meiji art. This event is hosted and sponsored by the Japanese Art Society of America (JASA). Please click here to register for the Zoom event.

We are delighted to announce that in addition to the Smart Lecture, Professor Shih-shan Susan Huang will be at the VMPEA workshop on May 12 (Friday) from 4:45–6:45pm CT at CWAC 152 to discuss an article derived from her latest book project. We also invite you to come and ask any remaining questions you may have after the Smart Lecture.

Shih-shan Susan Huang

Associate Professor of Transnational Asian Studies, Rice University

Who will be presenting and discussing the paper

“The Fodingxin Dharani Scripture and its Audience: Healing, Talisman Culture, and Women in Popular Buddhist Print Culture”

Friday, May 12, 2023

4:45–6:45 pm CT, CWAC 152

*A light reception will follow at the department lounge.

Fodingxin Dharani Scripture. 1102 CE. Northern Song. National Library, Beijing.

Abstract

This study examines the book art contained within the Fodingxin Dharani Scripture (Fodingxin tuoluoni jing 佛頂心陀羅尼經; hereafter also called the dharani text), with the broader concerns of how popular Buddhist print culture addresses healing, talisman culture, and women. The primary sources it investigates include a ninth-to-tenth century Dunhuang manuscript and other illustrated printed counterparts dated from the twelfth to the fifteenth centuries. The Fodingxin Dharani Scripture, an indigenous Chinese Buddhist text traceable to medieval Dunhuang manuscript culture, synthesizes miscellaneous beliefs, turning a Buddhist scripture into a form of magical medicine. The twelfth century marks fresh illustrative and talismanic traditions in the print age. The printed text is accompanied by a frontispiece at the beginning, and three talismanic scripts at the end. The book art of the Fodingxin Dharani Scripture reached its peak in the first half of the fifteenth century. In addition to the frontispiece and talismanic scripts, the text is fully illustrated throughout, with its new illustrated repertoire highlighting the healing power of the scripture and the dharani charms, as well as the challenges women faced in childbirth. Numerous extant specimens offer valuable documentations of its donors, most of whom were residents in Ming (1368–1644) Beijing. Accompanied by lively narrative pictures and containing Daoist-inspired talismanic writs that promise to save women from birth complications, it was often printed on demand. Women and their families, preoccupied with childbirth complications or ardently desiring a baby boy, were its main donors.

Shih-shan Susan Huang (PhD, History of Art, Yale) is an Associate Professor at Rice University’s newly-founded Department of Transnational Asian Studies. Her book, Picturing the True Form: Daoist Visual Culture in Traditional China (Harvard Asian Center, 2012), translated into Chinese by Dr. Zhu Yiwen, was published by Zhejiang University Press in 2022. She co-edited Visual and Material Cultures of the Middle Period China with Patricia Ebrey (Brill, 2017). Her recent articles explore Song-to-Ming book art of the Lotus Sutra and Diamond Sutra, Buddhist printing under Tangut Xi Xia rule, and painting and printing connections. Huang’s new monograph, The Dynamic Spread of Buddhist Print Culture: Mapping Buddhist Book Roads in China and its Neighbors, forthcoming in the Brill series Crossroads – History of Interaction across the Silk Routes, examines printed images and texts as objects “on the move”, as they were transmitted along networks and book roads in a transnational context. For more information, visit https://shihshansusanhuang.com/

Please join us on Wednesday, May 3, from 4:45-6:45 pm CT at CWAC 152 for the fifth VMPEA Workshop this Spring, featuring:

Yun-chen Lu

Assistant Professor, Department of History of Art and Architecture, DePaul University

Who will be presenting:

“A Left-Turn to Artistic Eccentricity: Gao Fenghan (1683–1749) and Disability Art in Eighteenth-century Yangzhou”

Wednesday, May 3, 2023

4:45-6:45 pm CT

*Please use this link if you plan to join virtually. No registration is required. Password: “left.”

Gao Fenghan and Li Tianbiao, the first leaf of the Album of Painting and Calligraphy in Collaboration with Li Tianbiao, 1737. Album leaves mounted as a handscroll, ink on paper. Each leaf 31.5 × 35.4 cm. Chien-lu Collection.

Abstract

This talk focuses on Gao Fenghan (1683–1749) and the development of his disability art and aesthetics in premodern China. Scholars have categorized Gao as one of the Eight Eccentrics of Yangzhou, a group of artists who were active in southern China during the early Qing Dynasty (1644–1911) and gained renown for rejecting the Beijing court’s orthodox painting style in favor of their own aesthetic choices. Among these artists, Gao earned fame because of his left-handed style, which he developed after the paralysis of his right hand. I argue that this disability enabled him to move beyond his early practice in the dominant literati style and generate his own artistic idiosyncrasy, which was popular in the Yangzhou art market that favored nontraditional art. While scholarly discussion of disability in art history has focused on the evolution of modern aesthetics in Euro-American art, my project focuses on disability art in premodern China, not only challenging the dating of disability art studies but also expanding its geographical scope. More specifically, my research offers a new understanding of disability aesthetics rooted in Chinese culture, history, and philosophy.

Yun-chen Lu (Ph.D., UCSB) is an Assistant Professor of History of Art and Architecture at DePaul University. She specializes in East Asian art history, particularly Chinese painting and calligraphy, material culture, literati culture, artists with disabilities, disability aesthetics, and East Asian interregional art history. She teaches courses on Asian art history, Chinese art history, and Buddhist art history. Her current research project investigates the relationship between artists with disabilities and the trend of artistic eccentricity in eighteenth-century Yangzhou, and the development of disability art and aesthetics in Chinese art.