Visual and Material Perspectives on East Asia

Michael J. Hatch, PhD, Assistant Professor of East Asian Art History, Department of Art, Miami University

“Epigraphy, Ruan Yuan, and the Haptic Imagination in Early Nineteenth-Century Chinese Painting”

Respondent: Meng Zhao, PhD Candidate, Department of Art History, University of Chicago

Friday, November 8, 2019

4:30-6:30 pm, CWAC 156

Refreshments and a catered dinner will be provided

Abstract: The study of ancient cast and inscribed objects among early nineteenth-century literati brought together the senses of vision and touch. Scholars, officials, and artists obsessively documented texts and images found on degraded stone steles or oxidized bronzes. As they did so their brushwork increasingly emulated the effects of aging on these materials. This epigraphic aesthetic bridged media through visual and conceptual languages that were applied as readily to stone and metal inscriptions as they were to paintings and calligraphy. Scholars began to see in terms that were tactile.

Ruan Yuan (1764–1849), one of the early nineteenth-century’s most influential government officials and scholars, was central to this. His essays, “The Northern and Southern Schools of Calligraphy,” and “Northern Steles, Southern Letters,” provide the clearest articulation of the values at the core of the epigraphic aesthetic. Likewise, paintings, inkstones, and rubbings produced within his broad network of friends and aides attest to the manifestation of an early nineteenth-century haptic imagination across media.

This paper is excerpted from the speaker’s book manuscript, The Senses of Painting in China, 1790-1840, a sensory history that explores the appeals to embodied memory made in early nineteenth-century literati painting through allusions to touch, sound, and smell.

Liuzhou (1791—1858), Full-Form Rubbing of A Wild-Goose-Foot-Shaped Lamp, 47.8*26cm

This event is sponsored by the University of Chicago Center for East Asian Studies with support from a Title VI National Resource Center Grant from the United States Department of Education.

Persons with concerns regarding accessibility please contact Zhenru Zhou (zhenru@zhenruzhou.com) and Yin Wu (yinwu@uchicago.edu).

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Michael J. Hatch is an Assistant Professor of East Asian art at Miami University in Ohio. He earned a PhD in Art and Architecture from Princeton University in 2015. Prof. Hatch has held fellowships at the Metropolitan Museum of Art and the Princeton University Art Museum. Before graduate school, he worked in auctions and galleries, spending three years in Beijing at China Guardian Auctions and one year in New York at Kaikodo Gallery.

His research focuses on the interplay between sensuous, material, and intellectual modes of viewing Chinese painting, and ranges from the eighteenth century to the twenty-first century. His current book manuscript is The Senses of Painting in China, 1790-1840. He has articles forthcoming in Archives of Asian Art and the Metropolitan Museum Journal.

Meng Zhao is a PhD candidate at the Department of Art History, University of Chicago. She studies Chinese art with a particular focus on painting practice of Middle Period China (ca. 800-1400). Meng received her BA in Chinese Language and Literature at Fudan University and her MA in History of Art and Archaeology of East Asia at SOAS University of London. Her master’s dissertation addressed a dramaturgical schema activated by the act of gazing frequently depicted in the Southern Song (1127-1279) court painting. Meng is particularly interested in the tension between the understanding of paintings as self-knowledge and the social dimensions of aesthetic mentalities, and in the sensuous credibility of pictorial representation of the middle period.

Friday, October 25, 4:30-6:30 pm, the Cochrane-Woods Art Center (CWAC) Room 156.

Peter Chen, MA student, Divinity School

“What does Chinese look like? Secularization as/and Nationalism in the case of Feng Zikai”

Respondent: Minori Egashira, PhD student, Department of Art History

A pre-circulated paper can be found at the link, pin: zikai.

Co-sponsored with Arts and Politics of East Asia (APEA) Workshop

This paper attempts to link broader theoretical discussions regarding secularization with the formation of nationalism and “Chinese-ness” in contemporary China. In particular, I focus here on the contemporary afterlife of Feng Zikai 豐子愷 (1898 – 1975) in the PRC through the China Dream campaign 中國夢posters and in Taiwan through religious murals at Foguangshan 佛光山. While the China Dream posters represent Feng Zikai as a secular figure, the murals at Foguangshan paint him as a Chinese Buddhist exemplar. Furthermore, while the China Dream campaign has preserved the ink and watercolor style of Feng Zikai’s original manhua (漫畫), Foguangshan has transformed his work into the ceramic religious murals, similar to those commonly found in popular religious temples in China and Taiwan. The paper attempts to interrogate under what structures and conditions these types of images make sense and accordingly, how they fit into current discourses surrounding what constitutes Chinese-ness. Thus, I first outline how figures such as Hu Shi 胡適 (1891-1962) first laid down theoretical and conceptual paradigms concerning secularism and Chinese-ness in order to understand how these frameworks still function today. In short, starting from Hu Shi’s writings on the history of Chinese philosophy and religion, a discourse connecting secularism and ‘Chinese-ness’ emerges, and that this intertwining of secularism and the narrative concerning the state of Chinese culture critically informs these two re-interpretations of Feng Zikai’s work in order to produce two contrasting visual depictions of ‘Chinese-ness.’

A popular China Dream poster with an image of Feng Zikai’s manhua.

Persons with concerns regarding accessibility please contact Zhenru Zhou (zhenru@zhenruzhou.com) and Yin Wu (yinwu@uchicago.edu).

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Peter Chen is a MA student at the Divinity School. His current research interests revolve around secularism, nationalism, visual culture, and the formation and differentiation of knowledge production in modern East Asia. Prior to coming to University of Chicago, he spent a year between Hangzhou and Beijing on a Fulbright grant, conducting research on Feng Zikai. Moving forward, he is interested in how the secular and the religious intersect with the formations of the social sciences and political theory in China, as seen through Buddhist historiography, late Qing political thought, Maoism, and Cold War propaganda posters.

Minori Egashira is a PhD student at the Department of Art History. She studies Japanese art history, with a focus on Meiji-period (1868–1912) sculpture. She is interested in how Japanese artworks were transferred to the West and their reception by both the West and Japan. She received her BA in art history from Wake Forest University in 2014, and her MA from Kyushu University in 2017. She completed her MA thesis on changing perceptions of Meiji-period artists during their lifetimes and the reception of their artworks. Specifically, she examined Buddhist wood sculptor and professor Takenouchi Hisakazu (1857–1916, alt. Takeuchi Kyūichi) and the lacunae of scholarship on him.

Dear friends and colleagues,

We are excited to share an upcoming special event hosted by VMPEA! On Next Friday, October 11 at 4:30-6:30pm in CWAC 156, Jiayi Zhu (EALC), Sylvia Wu and Sizhao Yi (Art History), three PhD students who participated at the UChicago/Getty Traveling Seminar in summer 2019 will share their observations and reflections on the trip. Let’s kick of the new academic year by joining their round-table style presentations of “Cave art from Xi’an to Dunhuang: Observations from the UChicago/Getty Traveling Seminar”! Apart from fresh ideas and visual materials, there will be plenty of refreshments and pizza.

Warmly,

Zhenru & Yin

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UChicago/Getty Traveling Seminar visiting Mogao Cave 85, Dunhuang, China, August 2019. Photo by Li Yuxuan.

Persons with concerns regarding accessibility please contact Zhenru Zhou (zhenru@zhenruzhou.com) and Yin Wu (yinwu@uchicago.edu).

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Jiayi Zhu is PhD student at the East Asian Languages & Civilizations Department. Her area of study is Medieval China, Japan and Korea. Jiayi received her BA from Middlebury College (Anthropology and Environmental Studies) in 2014, and her MA from Columbia University (East Asian Buddhism) in 2017. Her research focuses on Esoteric Buddhism and Buddhist art in East Asia from 7th to 10th century.

Sylvia Wu is a PhD student in Islamic art and architecture. Her primary research interests revolve around the medieval Indian Ocean trade routes, a network connecting the coastal areas of East and South Asia, the Gulf, and East Africa. She seeks to foreground the dynamics of cultural activities seen in these regions that have been traditionally deemed outside of, or on the rims of the so-called Dar al-Islam. Through examining the artistic enterprises sponsored, executed, and used by individuals and communities with diverse backgrounds, Sylvia aspires to construe the transmission of knowledge within and beyond the network, which facilitated, or was formed by, the regional visual and material cultures. Sylvia received her MA from the Institute of Fine Arts, New York University with a thesis on imperial Ottoman silks. She has interned in the Department of Islamic Art at the Metropolitan Museum of Art.

Sizhao Yi is a PhD student in East Asian art and material culture with a particular interest in objects from late imperial China. She received her Bachelor’s degree in Journalism from the University of Hong Kong in 2016, and her MA from the University of Chicago in 2017. Her master’s thesis examined two embroidered jackets excavated from an imperial tomb of the Ming Dynasty, which she encountered during her internship at the textile conservation department in the Archeology Institute, Chinese Academy of Social Sciences.