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ArtsInfo

5/ 20 /2016

1. De-nin Lee, Ellie Reynolds,

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1. Royal Ontario Museum

2.! National Library of Australia

3.! The Metropolitan Museum of Art

4.! Nelson-Atkins Museum of Art

5.! Newark Museum

6.! Cleveland Museum of Art

7.! Getty Center

8.! Museum of Fine Arts, Boston (MFA)

9.! Seattle Art Museum

10.! SF Asian Art Museum

11.! Freer/Sackler

12.! USC Pacific Asia Museum

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1. Royal Ontario Museum

Made in China: Cultural Encounters through Export Art

Closing August 2016.

This exhibition explores the lasting impact of cultural encounters between Europe and China on

an important artistic tradition. While art is often inspired by the surrounding culture and politics,

Chinese export art was also influenced by its target audience.

Chinese artists and artisans responded to the growing demand for Chinese export art in Europe

during the 18th century by appealing strategically to western taste, and adopting European painting

techniques and styles. At the same time, the romanticized view of China portrayed in export art

only left Europeans craving more from this imagined and idealized region.

With artifacts from the ROM’s unique Chinese, European, and Natural History collections,

including impressive works on pith, leaves, paper, and porcelain, this exhibition places the globally

recognized trademark “Made in China” into historical context.

https://www.rom.on.ca/en/exhibitions-galleries/exhibitions/made-in-china-cultural-encounters-th

rough

2. National Library of Australia, Exhibition Gallery, Ground floor

Celestial Empire: Life in China 1644-1911

2016 1 2 —5 22 10.00am-5.00pm

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http://www.nla.gov.au/

http://mp.weixin.qq.com/s?__biz=MzA5NDU4NjkwMQ%3D%3D&mid=401065091&idx=1

&sn=1ab6503acec2cd7628b9c235816e323b&scene=2&srcid=12286CBpu4oKNHqQ3n6kYnYI

&from=timeline&isappinstalled=0#wechat_redirect

3. The Metropolitan Museum of Art

1 A Passion for Jade The Heber Bishop Collection

March 14, 2015–June 19, 2016

http://www.metmuseum.org/exhibitions/listings/2015/passion-for-jade

Heber R. Bishop's collection of carved jades was formed in the last quarter of the nineteenth

century and bequeathed to the Metropolitan Museum in 1902. Consisting of over one thousand

pieces—primarily Chinese jades of the eighteenth and nineteenth centuries, as well as jades from

Mughal India—it was the first major collection of its kind in the country. This exhibition features a

selection of the finest examples from this renowned collection and celebrates the hundredth

anniversary of the Department of Asian Art.

2 Chinese Textiles Eight Centuries of Masterpieces from the Met Collection

September 12, 2015–June 19, 2016

http://www.metmuseum.org/exhibitions/listings/2015/chinese-textiles

This installation, which explores the cultural importance of silk in China, will showcase the most

important and unusual textiles from the Museum's collection. In addition to three rare pieces dating

from the Tang dynasty (618–906), when China served as a cultural hub linking Korea and Japan to

Central and West Asia, and, ultimately to the Mediterranean world, the exhibition also includes

eleventh- and twelfth-century tapestries from Central Asia, as well as contemporaneous Chinese

examples of this technique.

Spectacular embroideries—including an imperial fourteenth-century canopy decorated with

phoenixes and flowers, and a monumental late seventeenth- or early eighteenth-century panel

showing phoenixes in a garden—will also be on view, together with theatrical garments, court

costumes, and early examples of badges worn at court to designate rank.

3 Chinese Lacquer Treasures from the Irving Collection, 12th–18th Century

September 12, 2015–June 19, 2016

http://www.metmuseum.org/exhibitions/listings/2015/chinese-lacquer

Lacquer, the resin of a family of trees found throughout southern China—as well as in Southeast

Asia, Korea, and Japan—is an amazing material. When exposed to oxygen and humidity, lacquer

hardens or polymerizes, becoming a natural plastic and an ideal protective covering for screens,

trays, and other implements. Mixed with pigments, particularly cinnabar (red) and carbon (black),

lacquer has been also used as an artistic media for millennia.

This installation, which features all of the most important examples of Chinese lacquer in the

Museum's collection, explores the laborious techniques used to create scenes based on history and

literature, images of popular gods and mythical and real animals, and representations of landscapes

and flowers and birds.

4 Masterpieces of Chinese Painting from the Metropolitan Collection

October 31, 2015–October 11, 2016

http://www.metmuseum.org/exhibitions/listings/2015/masterpieces-of-chinese-painting

http://mp.weixin.qq.com/s?__biz=MzA3MTUxMzEzNw%3D%3D&mid=217305488&idx=1

&sn=275e62d512416c4ec9ae7e534ce0f4b3&scene=0#rd

This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a

chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368)

dynasties.

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4. Nelson-Atkins Museum of Art

Flowers to Frost: Four Seasons in East Asian Art

July 18, 2015–July 17, 2016

http://www.nelson-atkins.org/art/exhibitions/flowers-to-frost.cfm

5. Newark Museum

1 China's China Porcelain, Earthenware, Stoneware & Glazes

Now on View

http://www.newarkmuseum.org/china.html

Over 2,000 years of ceramic excellence are showcased with meaningful selections to feature a range

of different techniques through both figural and practical forms. Dating from seven different

dynastic periods—stretching from the second century BC to contemporary works—this

installation provides a profound rationale for why the name of the country became a synonym for

the ceramic arts while demonstrating an abridged introduction of some of the most significant and

celebrated ceramic types in Chinese history.

2 Red Luster Lacquer & Leatherworks of Asia

Ongoing

http://www.newarkmuseum.org/red-luster

For the past two thousand years—far before the development of plastic laminations and

modern-day adhesives—lacquer was (and remains) a superior material. Red Luster: Lacquer and

Leatherworks of Asia demonstrates the aesthetic impact of red lacquer and its faux imitators in

leatherworks and other materials. The glossy sheen, slick texture and deep colors of lacquer have

long been a prized material throughout Asia but the materials to create “true lacquers” do not exist

in all of Asia.

Different raw materials originating from different types of trees and even insects distinguish East

Asian lacquers (China, Japan and Korea) from those of Central and South Asia (Turkey, Iran, India

and Tibet) or Southeast Asia (Myanmar). The relatively slow construction process, coupled with

regionally restricted supplies of raw material, made production relatively exclusive. Thus all of Asia

also developed imitation or faux lacquers created by an even greater variety of materials and

techniques. Many faux lacquers became important forms of art in their own right. This is the first

lacquer exhibition to span the vastly different cultural and historical legacies of Asia from the Near

to Far East.

6. Cleveland Museum of Art

Silent Poetry: Masterpieces of Chinese Painting

11/14/2015-04/24/2016

http://www.clevelandart.org/events/exhibitions/silent-poetry-masterworks-chinese-painting

7. Getty Center

Cave Temples of Dunhuang: Buddhist Art on China's Silk Road

May 7–September 4, 2016, GETTY CENTER

The Mogao caves, located near the town of Dunhuang in the Gobi Desert of northwest China,

comprise some 500 decorated Buddhist cave temples dating from the 4th to the 14th century. Filled

with exquisite wall paintings and sculptures, the caves bear witness to the intense religious, artistic,

and cultural exchanges along the Silk Road, the trade routes linking East and West. Cave Temples of

Dunhuang: Buddhist Art on China's Silk Road features numerous objects originally from the site—such

as paintings and manuscripts that have rarely, if ever, traveled to the United States, as well as three

spectacular full-size cave replicas. The exhibition celebrates more than 25 years of collaboration

between the Getty Conservation Institute and the Dunhuang Academy to preserve this UNESCO

World Heritage Site.

8. Museum of Fine Arts, Boston (MFA)

a new display of art from the prosperous and vibrant Song dynasty (960-1279)

02/06/2016

Beyond this new display, visitors can explore six additional galleries dedicated to Chinese art at the

MFA, highlighting sculpture, ceramics and Bronze Age art, as well as Chinese furnishings, scholarly

objects and Buddhist art. Beyond the Screen evokes an elegant courtyard household from the late Ming

period, highlighting Chinese furniture of the 16th and 17th centuries.

http://www.mfa.org/news/song-gallery

9. Seattle Art Museum

JOURNEY TO DUNHUANG: BUDDHIST ART OF THE SILK ROAD CAVES

MAR 5 – JUN 12 2016

ASIAN ART MUSEUM

FOSTER GALLERIES

Located at China’s western frontier, the ancient city of Dunhuang lays at the convergence of the

northern and southern routes of the Silk Road—at a crossroads of the civilizations of East Asia,

Central Asia, and the Western world. From the late fourth century and until the decline of the Silk

Road in the fourteenth century, Dunhuang was a bustling desert oasis—a center of trade and

pilgrimage, and a gateway for new forms of art, culture, and religions.

This exhibition brings us the wonders of Dunhuang’s caves seen through the eyes of James and

Lucy Lo featuring a comprehensive selection of their photographs, manuscripts, and artist renditions.

In 1943, during World War II, photojournalist James C. M. Lo (1902–1987) and his wife, Lucy, a

photographer, arrived at Dunhuang by horse and donkey-drawn cart. Their ambitious 18-month

project produced over 2500 black and white images that record the caves as they were in the

mid-20th century, capturing many views of the interiors and exteriors that no longer exist today.

They also collected fragments of ancient texts and drawings–now the largest collection of Dunhuang

manuscripts in the U.S.

After moving to Taiwan in the 1950s, the couple invited a group of young artists to produce life-size

copies of their cave mural photographs, and coloring was added to the renderings.

These remarkable works on view are testament to James and Lucy Lo’s mission to preserve and

transmit the visual splendors of this ancient site.

The exhibition is organized in cooperation with the Princeton University Art Museum and the P.Y.

and Kinmay W. Tang Center for East Asian Art.

http://www.seattleartmuseum.org/Exhibitions/Details?EventId=42562

10. SF Asian Art Museum

1) CHINA AT THE CENTER: RARE RICCI AND VERBIEST WORLD MAPS

MAR 4 —MAY 8, 2016

2) Chinese Lacquerware

2015 11 10 2016 10 31

http://www.asianart.org/exhibitions/chinese-lacquerware

3) Emperor's Treasures: Chinese Art from the National Palace Museum, Taipei

2016/06/17-20126/09/18

HTTP://WWW.ASIANART.ORG/EXHIBITIONS/EMPERORS-TREASURES

11. Freer/Sackler

1) PAINTING WITH WORDS: GENTLEMAN ARTISTS OF THE MING DYNASTY

April 16–July 24, 2016

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as

the ultimate expressions of Chinese literati culture during the Ming dynasty (1369–1644). Members

of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for

their interpretations of these creative expressions. Painting with Words celebrates Wu School works,

examining the relationship between their imagery, brushstrokes, and, especially, words. Selections are

drawn from the Freer|Sackler—home to one of the best Wu School collections in the country—as

well as other museums and collections.

2) CHINAMANIA

July 9, 2016–January 2, 2017

Chinamania, the craze for Chinese blue-and-white ceramics, swept London in the nineteenth century

and still endures in the West. Contemporary artist Walter McConnell, inspired by his travels in China

and the kilns as Jindgzhen, interrogates this phenomenon through his reinstallation of Kangxi

porcelains similar to those originally displayed in the Peacock Room. The show also includes two

monumental ceramic stupas from McConnell’s The Theory of Everything series.

12. University of South California Pacific Asia Museum

Royal Taste: The Art of Princely Courts in Fifteenth-Century China

February 26, 2016 - June 26, 2016

Known as the “Empire of Great Brightness,” the Ming dynasty (1368–1644) was one of the most

prosperous and exuberant dynasties in China. It restored the native rule by overthrowing the

Mongolian regime of the previous Yuan dynasty (1271–1368) and established thirteen provinces to

control the vast empire. After choosing Beijing as the new capital, the Ming dynasty extended the

Great Wall along the borders and restored the Grand Canal to connect waterways between the north

and the south. Besides establishing its military might, the Ming dynasty also produced a splendid

material culture.

Royal Taste offers a unique glimpse into the luxurious lifestyles of princely courts in early- and

mid-Ming China. Featuring more than one hundred fifty works of pictorial, sculptural, and

decorative arts, this exhibition sheds light on some lesser-known aspects of the palatial lives and

religious patronage of Ming princes. Their regional courts were at the center of art production,

creating works that showcased imperial styles while reflecting local traditions. The quality of

craftsmanship and beauty of design testify to the richness and sophistication of the art and culture in

the provincial courts, as well as their abundant resources.

The majority of the objects on view were selected from recent archaeological finds now in the

collections of four museums in China’s Hubei province. Also included are imperially commissioned

statues from Daoist temples at Mount Wudang, the birthplace of tai chi. Select examples from the

USC Pacific Asia Museum’s permanent collection and the noted local collection at the Chen Art

Gallery are also included to further highlight the sophisticated material culture of the period.

http://www.pacificasiamuseum.org/_on_view/exhibitions/2016/RoyalTaste.aspx

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2. Chinese Object Study Workshops

Chinese Object Study Workshops is a program that provides graduate students in Chinese art history

an immersive experience in the study of objects. The week-long workshops (Monday-Friday) will help

students develop the skills necessary for working with objects, introduce them to conservation issues

not readily encountered in typical graduate art history curricula, and familiarize them with important

American museum collections.

Each workshop is intended for around ten graduate students, to be selected from across North

America and Europe through an open application process. These students will study and work with a

team of faculty and curators from the host museum. Eight workshops are planned for the next four

years, with two occurring during each academic year.

2016 WORKSHOPS

Workshop One: Early Chinese Paintings

Host: Museum of Fine Arts, Boston

Workshop Leaders:

•! Hui-shu Lee, University of California, Los Angeles

•! Richard Vinograd, Stanford University

•! Nancy Berliner, Museum of Fine Arts, Boston

•! Richard Barnhart, Yale University (Emeritus)

Dates: Monday-Friday, June 13-17, 2016

Explore early Chinese paintings in the Museum of Fine Arts, Boston (MFA). Drawing from the MFA’s

rich collection of works attributed to the Song and Yuan and earlier eras, the workshop will consider the

intertwined procedures of connoisseurship and attribution studies, conservation and technical studies,

object-driven scholarship, collecting history, canon formation (and deconstruction), and art historical

writing. Students will consider works of established historiographical importance as well as paintings

connected to emerging concerns in recent art historical writing, such as women and gender, Daoist

religious art, word/text/poetry-and-image relationships, interregional networks of Buddhist art exchange,

and images and imaginaries of ethnic others.

Workshop Two: Chinese Calligraphy

Host: Metropolitan Museum of Art

Workshop Leaders:

•! Robert Harrist Jr., Columbia University

•! Hui-Wen Lu, National Taiwan University

•! Joe Scheier-Dolberg, Metropolitan Museum of Art

Dates: Monday-Friday, August 29-September 2, 2016

Investigate works of Chinese calligraphy and related paintings from the Metropolitan Museum of Art.

Through close study of objects, students will learn to read signatures, inscriptions, and seals and to

understand the important ways in which writing informs the aesthetic, historical, and expressive

dimensions of Chinese art. Instructors will emphasize issues in connoisseurship, materials, techniques,

and determining authenticity. In addition to developing basic skills of analyzing and describing

calligraphy, students will explore the role of writing in works that combine texts and images. The

workshop also will consider Chinese calligraphy in relation to other traditions of writing as a fine art

represented in the museum's collections.

HOW TO APPLY

Deadline: March 1, 2016 (decisions to be announced by March 31)

Applications must be submitted in English (PDF file preferred) and include:

•! Application cover sheet (download)

•! Curriculum vitae

•! Graduate school transcript (unofficial is acceptable). Students from European universities at which

transcripts are not provided may submit similar documents (transcript of records, report of studies,

etc.)

•! 500-word statement discussing why the workshop is of interest; relevant previous research, classroom

work, or teaching experience; and the impact the workshop will have on future research and

professional development

•! One letter of recommendation from a professor of Chinese art history in a sealed envelope signed

across the flap. The letter of recommendation may be included with the application or sent directly

from the reviewer. Email is acceptable if the letter is sent directly from the reviewer. In either case, it is

the responsibility of the applicant to ensure that the letter of recommendation arrives by the

application deadline.

Students are welcome to apply for both workshops in a single application, addressing their background

and interest in each workshop in the application statement. Include one recommendation letter that

addresses the two workshop topics.

Email complete applications to [email protected].

https://www.asia.si.edu/research/workshops/chinese-object-study.asp

Call for paper

1. The Committee for Promotion of Ming-Qing Studies( Ⅰ ) at the Academia

Sinica in Taiwan is considering holding a small 2-day Ming-Qing studies workshop in Taipei on July

21-22, 2016, with the possibility of making it a regular biennial event.

Topics would be open to all things Qing. The format would be casual and presentations need not

be formally written papers. Chinese or English is fine. Meals and housing for the nights of the 20th,

21st and 22nd in Taipei would be provided. The goal is specifically to promote greater interaction

between Taiwanese and western scholars in Qing studies.

In order to determine the feasibility of doing this on such short-notice, the organizers request that

anyone who might be interested in participating please contact the assistant of Committee, Ms.

Yuchun Chiu ぜ at [email protected], as soon as possible, preferably in April.

Titles and abstracts would not be needed till May 16.

2. Memorial landscapes: World images East and West

International Warburg Seminar, Hamburg University / Aby Warburg Foundation, Hamburg, in

cooperation with National Taiwan Normal University and National Taiwan University, Taipei

The 2016-2017 International Warburg Seminar, to be held in Taipei on 26-30 September 2016 and

in Hamburg on 3-7 April 2017 and aimed at doctoral candidates and young academics, will be

devoted to comparative views of the landscape genre. People’s perception of their surrounding

landscape is subject to a variety of cultural encodings. This becomes particularly clear when

international comparisons are made – between, say, Eastern and Western conceptions of landscape.

Whereas in the Western world ‘landscape’ and ‘landscape painting’ are practically synonymous

(‘Claude Lorrain’s landscapes’), the Chinese language, for instance, uses very different terms for the

two concepts: ‘landscape’ in the sense of a vista, (jǐngsè), is thus conceptually quite separate

from the traditional notion of landscape painting, (shānshuǐ), which is composed of the

characters for ‘mountain’ ( ) and ‘water’ ( ). At the same time, notions of landscape are subject to

constant historical change, and the landscape painting genre has performed a whole series of

different tasks which may also vary from period to period. Landscapes are not only veduta-like

depictions of nature, but they also provide subjective perspectives on the artist’s realm of experience;

they may be outlines for ideal or world landscapes that are more or less distinct from their natural

models; and they may be much else besides.

The International Warburg Seminar on Memorial landscapes: world images East and West will focus

not so much on aspects of landscape that only depict natural settings as on those that address the

construction of cultural links in the broadest sense, creating landscapes with a motivic, thematic,

social or political charge – to paraphrase Pierre Nora, paysages de mémoire. Such landscape images

encapsulate historical events and national identities, basic philosophical attitudes and political

conflicts or cultural, social or environmental issues. The landscape can then become not only a form

of reflection on links beyond landscape itself, but also a meta-genre that expresses how nature and

landscape are perceived by a particular artist, cultural region or period.

Doctoral candidates or young post-graduate art historians from all over the world are invited to

submit proposals for the seminar theme. These may include both proposals in the field of Asian and

Western art history during any period from the Middle Ages to the present day, as well as – and in

particular – themes that already deal with transfer between Eastern and Western notions of

landscape. Participants will be expected to give a talk on their proposal. It is planned that proposals

accepted for the seminar will be published. During the first week of the seminar, in autumn 2016, all

the participants will present preliminary papers which will be further developed in the light of

discussions in preparation for the second week of the seminar. The contributions will be jointly

edited during the spring 2017 session. All travel and accommodation expenses will be covered by the

organizers. The seminar will be held in English. Applications including a detailed thematic proposal

(max. two pages), a CV (resume), a list of relevant publications and a letter of recommendation from

the applicant’s academic supervisor or a senior researcher must be submitted in PDF format by 10

March 2016 to Professor Shai-Shu Tzeng, National Taiwan Normal University

([email protected]), Professor Yih-Fen Hua, National Taiwan University ([email protected])

and Professor Uwe Fleckner, University of Hamburg ([email protected]).

3. All the Beauty of the World (Berlin, 13-15 Oct 16)

Berlin, October 13-15, 2016

Deadline: Feb 15, 2016

All the Beauty of the World.The Western Market for non-European Artefacts (18th-20th century)

International Symposium

Berlin, Germany

In the wake of the Western expansion, a fast growing number of non-European artefacts entered the

European market. They initially made their way into princely cabinets of curiosities. Enabled by the

forced opening and exploitation of more and more parts of the world and pushed by social and

technological changes of the time, the 18th century brought a boom of the market of non-European

artefacts in Europe. This came along with the emergence of a broader collecting culture and the

development of a rich museumscape.

This market and its development in terms of methods and places of exchange and monetary and

ideological value of the objects are in the focus of an international symposium organised by the

Institute for Art History in cooperation with the Center for Art Market Studies at Technical

University Berlin, in collaboration with the Institut d'histoire moderne et contemporaine (CNRS)

and the Labex TransferS (PSL) in Paris. The keynote lecture will be given by Prof. Timothy Brook,

holder of the Republic of China Chair at the University of British Columbia.

The aim of the symposium is to examine how the market for non-European artefacts developed

between 18th and 20th century and to which extend it was entangled with the history of museums

and private collections. The following five topics will serve as main axis: actors and networks, places

of purchase and trade, transfer and transport, prices and value and expertise. The axes are entangled

and should not be regarded as separated topics.

1. Actors and networks: Who were the actors of the market (e.g. art dealers, commercial agents,

carriers but also diplomats, travellers, expats, missionaries or military as well as museums and

collectors)? Which regional specifications can be identified? Who were the key figures of the

market(s)? Which networks can be spotted? How did they work?

2. Places of purchase and trade: What were the centres of the purchase and/or trade of art objects (in

the countries of origin as well as in Europe)? How did they develop in the course of the period of

examination? Which significance did the primary markets and their political/social development

have for the European market? Did the European market turned into the primary market at a certain

time? What were the main places for purchase and trade in Europe (e.g. auctions houses, galleries,

private houses)? What marketing methods can be identified?

3. Transfer and transport: What were the (political, social, technological) circumstances of the objects

purchase? To which extend did technological developments (e.g. establishment of railway lines)

influence the market offer? How were the objects brought to Europe (e.g. export and import

regulations, methods of transport)?

4. Prices and value: Which payment methods or methods of exchange did exist? How did they

impact the value of objects? How was the value of an object determined? To which extend did this

value change in space and time (difference between primary and secondary market; development in

the course of time)? Despite the monetary value of a price: which other function in the act of

purchase can be identified (e.g. legitimation of possession)? And to which extend did the change of

the price and value shape the European collections? Here, we are especially interested in the shift

from an economy of looting or/and bazaar in the countries of origin to the pricing and “rational”

marketing after the arrival and commercialisation of the objects in Europe.

5. Expertise: How did the perception of and the knowledge about non-European art develop? How

was the knowledge generated and transferred? Which role did individual actors (e.g. dealers,

museums, collectors) play in the development of the perception of the objects? To which extend did

the development of expertise influence the market offer, the display of the objects and the character

of the collections?

The focus of the investigation will be set on the development between 18th and 20th century. Papers

exploring the market development before 18th century and especially those comparing the

development before and after 1700 are also welcome.

Conference language is English.

Papers should be a maximum of 20 minutes in length, and preference will be given to proposals that

stimulate dialogue and engage with broader topics. Please send proposals (max. 300 words) with a

short academic CV to [email protected] by 15 February 2016 at the latest. Selected speakers

will be notified by 15 March 2016. Financial assistance with travel expenses for speakers may be

available (subject to grant approval).

Convenors:

Prof. Dr. Bénédicte Savoy (TU Berlin)

Dr. Charlotte Guichard (CNRS, IHMC, Paris)

Dr. Christine Howald (TU Berlin)

http://arthist.net/archive/11972

4. Call for contributions to an edited volume on

Eco–Art History in Asia

June 15, 2016 – Deadline for 500-word proposal submissions

DESCRIPTION

Contributions are sought for an edited volume that will be submitted for evaluation and publication

with Cambridge Scholars Press by September 2016. The volume originates in a selection of papers

given at the session “Mountains and Rivers (without) End: Eco–Art History in East Asia” that took

place at the College Art Association annual conference in February 2016. The volume will continue

to pursue the session’s goals while expanding the geographical area to include South Asia, the

Himalayan region, and Southeast Asia.

The volume seeks contributions that adopt environmental concerns as a primary theme to study

Asian art and architecture of the past and present. Does “eco–art history” operate differently in

Asian contexts? Contributors might examine the naturalizing work of nature imagery vis-a-vis

climate and culture, the ecological impact of sites for state rituals and religious worship, and the role

of artists and patrons in debates over how to allocate natural resources. Critiques of Orientalizing

conceptions of nature in Asia, as well as investigations of local, indigenous understandings of the

natural environment as evidenced in art are welcome. Interest here is on the mutual interactions of

the particular artistic cultures in Asia and the environment.

The volume recognizes that global climate change and environmental degradation rank among the

most urgent problems of the present and, moreover, that these problems have a long past. In Asia,

significant anthropogenic changes to terrain, watercourses, and ecosystems date back millennia, as do

artwork and artifacts that both conceptualize and modify the natural world. The rising interest in

earth-conscious modes of analysis, or “eco–art history,” offers an opportunity to consider the mutual

impact of particular artistic traditions and local environments. Conceptual tools and case studies

from Asia could impart important insights bearing on the development of “eco–art history”

methods. Practices of geomancy or related to Buddhist cosmology, legal frameworks governing land

use, and traditions of landscape poetry—these and other bodies of knowledge rooted in diverse

Asian cultures complicate eco–art histories.

GUIDELINES

500-word abstracts and a CV should be emailed by June 15, 2016 to the volume editor

[email protected]<mailto:[email protected]>.

De-nin Deanna Lee, Ph.D.

Assistant Professor of Art History

Department of Visual & Media Arts

Emerson College

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1) Scrolling Paintings Project

University of Chicago

https://lucian.uchicago.edu/blogs/caea/scrolling-paintings/

Handscroll paintings, painted horizontally on a pieces of silk or sheets of paper and mounted as scrolls,

are a major type of traditional East Asian painting, distinctive in their format and method of viewing.

Their creation is based on special principles that differ from those of painting single-framed pictures as

they are continuous pictures that progress in space and time. Handscroll paintings are meant to be

handled as well as seen–unrolled for viewing and rolled up for storage. Viewing section by section calls

for particular kinds of engagement or participation on the part of the viewer moving forward (from left

to right) stopping and going back. In addition to painted images, the scrolls often include handwritten

text, artists’ signatures and seals, and the seals of later owners of the painting. The texts might include

narrative and descriptive passages on the painting itself and colophons added at the end, including

comments by of the painters’ associates and later viewers, including owners of the paintings. These can

provide a social history of the painting.

Because of the rare and fragile nature of these paintings, however, they are rarely shown. They cannot be

handled by the public or exposed to light for extended periods in exhibitions. Therefore our center

created this interactive site to simulate the experience of viewing handscrolls in ways that published

photographs in books and projected slides cannot and to make them more widely accessible for teaching

and research.

2) ぶ

http://webgis.sinica.edu.tw/place/

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ぬぼひ 1985

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1949 ご

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1949

Masterpieces of Chinese Painting from the Metropolitan Collection Rotation 1: 10/31/2015–4/17/2016 Rotation 2: 5/7/2016–10/11/2016 During the last forty years, the Metropolitan’s collection of Chinese painting and calligraphy has grown to be one of the greatest in the world. With masterpieces dating from the Tang dynasty (608–917) to the Qing (1644–1911), the collection encompasses the vast historical sweep of the brush arts of China, from meticulous court painting to fiercely brushed dragons to lyrical paintings by scholars. The exhibition is part of a yearlong celebration marking the centennial of the Department of Asian Art. This exhibition, presented in two rotations, will highlight the gems of the permanent collection in a chronological display, with an emphasis on works from the Song (960–1279) and Yuan (1271–1368) dynasties.

大都会馆藏中国书画精品特展一期: 10/31/2015–4/17/2016 二期: 5/7/2016–10/11/2016

过去四十年中，大都会博物馆逐渐发展成世上最重要的中国书画收藏機構之一。馆藏囊括唐朝

(618–907) 到當今的历代笔墨精華，從祥和的佛经，到浮夸的宫廷肖像，再到遣興的文人画。展览

将馆藏珍品按時代陈列，对宋 (960–1279)、元 (1271–1368) 两朝尤有侧重。

Rotation 1 一期: 10/31/2015–4/17/2016

MASTERPIECES OF CHINESE PAINTING FROM THE METROPOLITAN COLLECTION, Rotation 1

(10/31/2015-4/17/2016)

唐韓幹照夜白圖卷

Han Gan, Chinese, active ca. 742–756

Night-Shining White

China

Handscroll

ca. 750

Handscroll; ink on paper

1977.78

唐傳鍾紹京楷書靈飛經冊

Zhong Shaojing, Chinese, active ca. 713–41

Spiritual Flight Sutra

China

Album

ca. 738

Album of nine leaves; ink on paper

1989.141.1a–i

南宋佚名明皇幸蜀圖軸

Unidentified Artist

Emperor Xuanzong's Flight to Shu

China

Hanging scroll

mid-12th century

Hanging scroll; ink, color, and gold on silk

41.138

五代/北宋佚名乞巧圖軸

Unidentified Artist

Palace Banquet

China

Hanging scroll

Hanging scroll; ink and color on silk

2010.473

北宋佚名倣范寬山水圖軸

Unidentified Artist

Fan Kuan, Chinese, active ca. 990–1030

Landscape in the Style of Fan Kuan

China

Hanging scroll

early 12th century


56.151

1


(10/31/2015-4/17/2016)

北宋黃庭堅草書廉頗藺相如傳卷

Huang Tingjian, Chinese, 1045–1105

Biographies of Lian Po and Lin Xiangru

China

Handscroll

ca. 1095


1989.363.4

北宋李公麟孝經圖卷

Li Gonglin, Chinese, ca. 1041–1106

The Classic of Filial Piety

China

Handscrolls

ca. 1085

Three handscrolls: a) painting, ink on silk; b) colophons, ink on paper;

c) modern copy preserving seventeenth century silk restorations, ink on paper

and silk

1996.479a–c

北宋佚名睢陽五老, 畢世長像冊頁

Unidentified Artist

Portrait of Bi Shichang, from the set Five Old Men of Suiyang

China

Album leaf

before 1056

Album leaf; ink and color on silk

17.170.1

南宋高宗草書天山陰雨七絕詩團扇

Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162

Quatrain on Heavenly Mountain

China

Fan mounted as an album leaf

after 1162

Round fan mounted as album leaf; ink on silk

1989.363.6

2


(10/31/2015-4/17/2016)

南宋楊皇后楷書瀹雪凝酥七絕團扇

Empress Yang Meizi, Chinese, 1162–1232

Quatrain on Yellow Roses

China


Fan mounted as an album leaf; ink on silk

1989.363.13

南宋馬遠月下賞梅圖團扇冊頁絹本

Ma Yuan, Chinese, active ca. 1190–1225

Viewing Plum Blossoms by Moonlight

China

Folding fan mounted as an album leaf

early 13th century

Fan mounted as an album leaf; ink and color on silk

1986.493.2

南宋夏珪山市晴嵐圖冊頁

Xia Gui, Chinese, active ca. 1195–1230

Mountain Market, Clear with Rising Mist

China

Album leaf

early 13th century

Album leaf; ink on silk

13.100.102

南宋理宗趙昀行書北宋梅堯臣依韻和資政侍郎雪後登看山亭詩

團扇

Emperor Lizong, Chinese, 1205–64, r. 1224–64

Quatrain on Snow-covered West Lake

China



1989.363.18

3


(10/31/2015-4/17/2016)

南宋趙孟堅水仙圖卷

Zhao Mengjian, Chinese, 1199–before 1267

Narcissus

China

Handscroll

mid-13th century


1973.120.4

南宋趙孟堅行書梅竹詩譜卷

Zhao Mengjian, Chinese, 1199–before 1267

Poems on Painting Plum Blossoms and Bamboo

China

Handscroll

dated 1260


1989.363.28

元耶律楚材行書贈別劉滿詩卷

Yelü Chucai, Khitan, 1190–1244

Poem of Farewell to Liu Man

China

Handscroll

dated 1240


1989.363.17

北宋傳黃宗道舊傳李贊華獵鹿圖卷

Huang Zongdao, Chinese, active ca. 1120

Li Zanhua, Chinese, 899–936

Stag Hunt

China

Handscroll

Handscroll; ink and color on paper

1982.3.1

北宋傳楊邦基聘金圖卷

Yang Bangji, Chinese, ca. 1110–1181

A Diplomatic Mission to the Jin

China

Handscroll

ca. late 1150s

Handscroll; ink and color on silk

1982.1.1

4


(10/31/2015-4/17/2016)

南宋傳陳居中胡騎春獵圖團扇

Chen Juzhong, Chinese, active 1200–1230

Nomads Hunting with Falcons

China


early 13th century


47.18.32

元佚名蓮花圖軸

Unidentified Artist

Lotus and Water Birds

China

Hanging scrolls

ca. 1300

Pair of hanging scrolls; ink and color on silk

1988.155a, b

南宋佚名阿彌陀如來圖軸

Unidentified Artist

Buddha Amitabha Descending from His Pure Land

China

Hanging scroll

13th century


1980.275

元李堯夫蘆葉達摩圖軸

Li Yaofu, Chinese, active ca. 1300

Bodhidharma Crossing the Yangzi River on a Reed

China

Hanging scroll

before 1317

Hanging scroll; ink on paper

1982.1.2

5


(10/31/2015-4/17/2016)

南宋傳直翁藥山李翱問道圖軸

Zhiweng, Chinese, active first half of the 13th century

Meeting between Yaoshan and Li Ao

China

Album leaf mounted as a hanging scroll

before 1256

Album leaf mounted as a hanging scroll; ink on paper

1982.2.1

南宋佚名騎驢圖軸

Unidentified Artist

Chan Master Riding a Mule

China

Hanging scroll

before 1249


1989.363.24

元趙蒼雲劉晨阮肇入天台山圖卷

Zhao Cangyun, Chinese, active late 13th–early 14th century

Liu Chen and Ruan Zhao Entering the Tiantai Mountains

China

Handscroll


2005.494.1

元趙孟頫, 趙雍, 趙麟吳興趙氏三世人馬圖卷

Zhao Mengfu, Chinese, 1254–1322

Zhao Yong, Chinese, 1289–after 1360

Zhao Lin, Chinese, active second half of the 14th century

Horses and Grooms

China

Handscroll

1296 and 1359


1988.135

元張羽材霖雨圖卷

Zhang Yucai, Chinese, active 1295–1316

Beneficent Rain

China

Handscroll

late 13th–early 14th century

Handscroll; ink on silk

1985.227.2

6


(10/31/2015-4/17/2016)

元周東卿漁樂圖卷

Zhou Dongqing, Chinese, active late 13th century

The Pleasures of Fishes

China

Handscroll

dated 1291


47.18.10

元方從義雲山圖卷

Fang Congyi, Chinese, ca. 1301–after 1378

Cloudy Mountains

China

Handscroll

second half of 14th century


1973.121.4

元倪瓚秋林野興圖軸

Ni Zan, Chinese, 1306–1374

Enjoying the Wilderness in an Autumn Grove

China

Hanging scroll

dated 1339


1989.363.38

元張遜石上松花圖軸

Zhang Xun, Chinese, ca. 1295–after 1349

Rocky Landscape with Pines

China

Hanging scroll

before 1346

Hanging scroll; ink on silk

2008.673

元陸廣丹臺春曉圖軸

Lu Guang, Chinese, ca. 1300–after 1371

Spring Dawn Over the Elixir Terrace

China

Hanging scroll

ca. 1369


1982.2.2

7


(10/31/2015-4/17/2016)

元盛懋秋林漁隱圖團扇

Sheng Mou, Chinese, active ca. 1310–1360

Recluse Fisherman, Autumn Trees

China


dated 1349


1973.121.13

元盛著秋江垂釣圖團扇

Sheng Zhu, Chinese, active late 14th century

Angling in the Autumn River

China


ca. 1370


1973.121.14

元吳鎮老松圖軸

Wu Zhen, Chinese, 1280–1354

Crooked Pine

China

Hanging scroll

dated 1335


1985.120.1

元王冕墨梅圖軸

Wang Mian, Chinese, 1287–1359

Fragrant Snow at Broken Bridge

China

Hanging scroll


1973.121.9

8


(10/31/2015-4/17/2016)

元唐棣摩詰詩意圖軸

Tang Di, Chinese, ca. 1287–1355

Landscape after a Poem by Wang Wei

China

Hanging scroll

dated 1323


1985.214.147

元羅稚川古木寒鴉圖軸

Luo Zhichuan, Chinese, active ca. 1300–30

Old Trees, Pheasants, and Crows in Winter

China

Hanging scroll


1973.121.6

明傳謝環杏園雅集圖卷

Xie Huan, Chinese, 1377–1452

Elegant Gathering in the Apricot Garden

China

Handscroll

ca. 1437


1989.141.3

元/明佚名竹鶴雙清圖軸

Unidentified Artist

Crane in a Bamboo Grove

China

Hanging scroll

14th–early 15th century


1991.378

9


(10/31/2015-4/17/2016)

明林良二鷹圖軸

Lin Liang, Chinese, ca. 1416–1480

Two Hawks in a Thicket

China

Hanging scroll

15th century

Hanging scroll; ink and pale color on silk

1993.385

明劉俊納諫圖軸

Liu Jun, Chinese, active ca. 1475–ca. 1505

Remonstrating with the Emperor

China

Hanging scroll


2005.494.3

明佚名鳥販圖軸

Unidentified Artist

Bird Peddler

China

Hanging scroll

late 15th–early 16th century


1998.48

明陳子和古木酒仙圖軸

Chen Zihe, Chinese, active late 15th–early 16th century

Drunken Immortal beneath an Old Tree

China

Hanging scroll

early 16th century


2005.494.4

10


(10/31/2015-4/17/2016)

清王原祁輞川圖卷

Wang Yuanqi, Chinese, 1642–1715

Wangchuan Villa

China

Handscroll

dated 1711


1977.80

清王翬等康熙南巡圖，第三卷: 濟南至泰山

Wang Hui, Chinese, 1632–1717

The Kangxi Emperor's Southern Inspection Tour, Scroll Three: Ji'nan to

Mount Tai

China

Handscroll

datable to 1698


1979.5a–d

清朱耷(八大山人) 魚石圖軸

Bada Shanren (Zhu Da), Chinese, 1626–1705

Fish and Rocks

China

Hanging scroll

dated 1699


1989.363.137

清朱耷(八大山人) 蓮塘戲禽圖卷


Birds in a Lotus Pond

China

Handscroll

ca. 1690

Handscroll; ink on satin

1989.363.135

清朱耷 (八大山人) 二鷹圖軸


Two Eagles

China

Hanging scroll

dated 1702


2014.721

11


(10/31/2015-4/17/2016)

清徐揚等乾隆南巡圖, 第六卷﹕大運河至蘇州

Xu Yang, Chinese, active ca. 1750–after 1776

The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering

Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi

Suzhou)

China

Handscroll

dated 1770


1988.350a–d

12

Rotation 2 二期: 5/7/2016–10/11/2016


(5/7/2016-10/11/2016)

北宋傳屈鼎夏山圖卷

Qu Ding, Chinese, active ca. 1023–ca. 1056

Summer Mountains

China

Handscroll

mid-11th century


1973.120.1

北宋郭熙樹色平遠圖卷

Guo Xi, Chinese, ca. 1000–ca. 1090

Old Trees, Level Distance

China

Handscroll

ca. 1080


1981.276

北宋徽宗竹禽圖卷

Emperor Huizong, Chinese, 1082–1135; r. 1100–25

Finches and Bamboo

China

Handscroll


1981.278

北宋黃庭堅草書廉頗藺相如傳卷

Huang Tingjian, Chinese, 1045–1105

Biographies of Lian Po and Lin Xiangru

China

Handscroll

ca. 1095


1989.363.4

五代傳董元溪岸圖軸

Dong Yuan, Chinese, active 930s–960s

Riverbank

China

Hanging scroll


L.1997.24.1

1


(5/7/2016-10/11/2016)

宋佚名倣李成寒林策驢圖軸

Unidentified Artist

Li Cheng, Chinese, 919–967

Travelers in a Wintry Forest ("Hanlin celü")

China

Hanging scroll

early 12th century


1972.121

北宋米芾草書吳江舟中詩卷

Mi Fu, Chinese, 1052–1107

Poem Written in a Boat on the Wu River

China

Handscroll

ca. 1100


1984.174

南宋米友仁雲山圖卷

元鮮于樞題米友仁雲山圖

Mi Youren, Chinese, 1074–1151

Cloudy Mountains

China

Handscroll

colophon dated to 1200


1973.121.1

南宋傳李唐晉文公復國圖卷

Li Tang, Chinese, ca. 1070s–ca. 1150s

Duke Wen of Jin Recovering His State

China

Handscroll

datable to early 1140


1973.120.2

南宋高宗草書天山陰雨七絕詩團扇

Emperor Gaozong, Chinese, 1107–1187, r. 1127–1162

Quatrain on Heavenly Mountain

China


after 1162

Round fan mounted as album leaf; ink on silk

1989.363.6

2


(5/7/2016-10/11/2016)

南宋楊皇后楷書瀹雪凝酥七絕團扇

Empress Yang Meizi, Chinese, 1162–1232

Quatrain on Yellow Roses

China



1989.363.13

南宋傳閻次于松壑隱棲圖團扇

Yan Ciyu, Chinese, act. ca. 1164–81

Yan Ciping, Chibese, active 12th century

Hermitage by a Pine-covered Bluff

China



1973.121.12a, b

南宋梁楷澤畔行吟圖團扇

Liang Kai, Chinese, active first half of the 13th century

Poet Strolling by a Marshy Bank

China



1989.363.14

南宋佚名舊傳五代周文矩琉璃堂人物圖卷

Unidentified Artist

Scholars of the Liuli Hall

China

Handscroll

late 13th century


1977.49

宋傳趙克敻藻魚圖冊頁

Zhao Kexiong, Chinese, active early 12th century

Fish at Play

China

Album leaf

Album leaf; ink and color on silk

13.100.110

3


(5/7/2016-10/11/2016)

南宋佚名竹梅小禽圖團扇

Unidentified Artist

Sparrows, Plum Blossoms, and Bamboo

China


late 12th century


24.80.487

南宋馬和之詩經豳風圖卷

Ma Hezhi, Chinese, ca. 1130–ca. 1170

Odes of the State of Bin

China

Handscroll

Handscroll; ink, color, gold and silver on silk

1973.121.3

南宋李結西塞漁社圖卷

Li Jie, Chinese, ca. 1124– after 1191

Fisherman's Lodge At Mount Xisai

China

Handscroll

ca. 1170


1989.363.10a, b

南宋傳劉松年倣高克明溪山雪意圖卷

Liu Songnian, Chinese, active ca 1175–after 1195

Streams and Mountains Under Fresh Snow

China

Handscroll


1984.274

南宋佚名寒江釣雪圖軸

Unidentified Artist

Fishing on a Snowy River

China

Hanging scroll


L.1980.74

4


(5/7/2016-10/11/2016)

南宋金處士十王圖軸（之二）

Jin Chushi, Chinese, active late 12th century

Ten Kings of Hell

China

Hanging scroll

before 1195

One of five of a set of ten hanging scrolls; ink and color on silk

30.76.291

南宋金處士十王圖軸（之五）

Jin Chushi, Chinese, active late 12th century

Ten Kings of Hell

China

Hanging scroll

before 1195

One of five of a set of ten hanging scrolls; ink and color on silk

30.76.294

南宋佚名阿彌陀如來圖軸

Unidentified Artist

Buddha Amitabha Descending from His Pure Land

China

Hanging scroll

13th century


1980.275

北宋維摩詰經卷

Unidentified Artist

Vimalakirti Sutra

China

Handscroll

dated January 13, 1119

Handscroll; gold and silver on purple silk

47.18.2

南宋/元顏庚鍾馗嫁妹圖卷

Yan Geng, active late 13th century

The Demon Queller Zhong Kui Giving His Sister Away in Marriage

China

Handscroll


1990.134

5


(5/7/2016-10/11/2016)

元錢選王羲之觀鵝圖卷

Qian Xuan, Chinese, ca. 1235–before 1307

Wang Xizhi Watching Geese

China

Handscroll

ca. 1295

Handscroll; ink, color, and gold on paper

1973.120.6

元趙孟頫雙松平遠圖卷


Twin Pines, Level Distance

China

Handscroll

ca. 1310


1973.120.5

元趙孟頫行書右軍四事卷


Four Anecdotes from the Life of Wang Xizhi

China

Handscroll

datable to ca. 1310


1989.363.30

元王振鵬維摩不二圖卷

Wang Zhenpeng, Chinese, active ca. 1275–1330

Vimalakirti and the Doctrine of Nonduality

China

Handscroll

dated 1308


1980.276

元唐棣滕王閣圖卷

Tang Di, Chinese, ca. 1287–1355

The Pavilion of Prince Teng

China

Handscroll

dated 1352


1989.363.36

6


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元夏永黃樓圖冊頁

Xia Yong, Chinese, active mid-14th century

The Yellow Pavilion

China

Album leaf

ca. 1350

Album leaf; ink on silk

1991.438.3

元鮮于樞草書石鼓歌卷

Xianyu Shu, Chinese, 1246–1302

Song of the Stone Drums

China

Handscroll

dated 1301


1989.363.29

元姚彥卿 (廷美) 雪山行旅圖軸

Yao Yanqing (Tingmei), Chinese, ca. 1300–after 1360

Traveling through Snow-Covered Mountains

China

Hanging scroll


2011.573

元張羽松軒春靄圖軸

Zhang Yu, Chinese, 1333–1385

Spring Clouds at the Pine Studio

China

Hanging scroll

dated 1366

Hanging scroll; ink and color on paper

1980.426.3

元趙原 (元) 晴川送客圖軸

Zhao Yuan, Chinese, active ca. 1350–75

Farewell by a Stream on a Clear Day

China

Hanging scroll

early 1370s


1973.121.8

7


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元吳鎮蘆灘釣艇圖卷

Wu Zhen, Chinese, 1280–1354

Fisherman

China

Handscroll

ca. 1350


1989.363.33

元/明宋克草書負郭堂成七律詩卷

Song Ke, Chinese, 1327–1387

Poem on Retirement

China

Handscroll

Handscroll; ink on gold-flecked paper

1989.363.40

元趙原 (元) 倣燕文貴范寬山水圖卷

Zhao Yuan, Chinese, active ca. 1350–75

Landscape in the Style of Yan Wengui and Fan Kuan

China

Handscroll


1981.285.15

元/明沈巽竹石圖卷

Shen Xun, (active ca. 1370–1400)

Bamboo Grove

China

Handscroll


1981.285.16

元倪瓚江渚風林圖軸


Wind among the Trees on the Riverbank

China

Hanging scroll

dated 1363


1989.363.39

8


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元倪瓚虞山林壑圖軸


Woods and Valleys of Mount Yu

China

Hanging scroll

dated 1372


1973.120.8

元王蒙素庵圖軸

Wang Meng, Chinese, ca. 1308–1385

The Simple Retreat

China

Hanging scroll

ca. 1370


2012.526.2

元鄧宇竹石圖軸

Deng Yu, Chinese, ca. 1300–after 1378

Bamboo and Rock

China

Hanging scroll

ca. 1360–67


1991.438.1

元李衎竹石圖軸二幅

Li Kan, Chinese, 1245–1320

Bamboo and Rocks

China

Hanging scrolls

dated 1318

Pair of hanging scrolls; ink and color on silk

1973.120.7a, b

9


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明沈周溪山秋色圖卷

Shen Zhou, Chinese, 1427–1509

Autumn Colors among Streams and Mountains

China

Handscroll

ca. 1490–1500


1979.75.1

元/明吳伯理龍松圖軸

Wu Boli, Chinese, active late 14th–early 15th century

Dragon Pine

China

Hanging scroll

ca. 1400


1984.475.3

明夏昶清風高節圖軸

Xia Chang, Chinese, 1388–1470

Bamboo in Wind

China

Hanging scroll

ca. 1460


1989.235.1

明戴進雪歸圖軸

Dai Jin, Chinese, 1388–1462

Returning Home Through the Snow

China

Hanging scroll

ca. 1455


1992.132

10


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明鍾禮觀瀑圖軸

Zhong Li, Chinese, active ca. 1480–1500

Scholar Looking at a Waterfall

China

Hanging scroll

late 15th century


1991.438.4

明杜堇伏生授經圖軸

Du Jin, Chinese, active ca. 1465–1509

The Scholar Fu Sheng Transmitting the Book of Documents

China

Hanging scroll

15th–mid-16th century


1991.117.2

明文徵明樓居圖軸

Wen Zhengming, Chinese, 1470–1559

Living Aloft: Master Liu's Retreat

China

Hanging scroll

dated 1543


L.2001.85.2

明陸治種菊圖軸

Lu Zhi, Chinese, 1495–1576

Planting Chrysanthemums

China

Hanging scroll

mid-16th century

Hanging scroll; ink and pale color on paper

1986.266.3

11


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明董其昌溪山樾館圖軸紙本

Dong Qichang, Chinese, 1555–1636

Shaded Dwellings among Streams and Mountains

China

Hanging scroll

ca. 1622–25


1979.75.2

清王鑑仿古山水圖冊紙本

Wang Jian, Chinese, 1609–77 or 1688

Wang Shimin, Chinese, 1592–1680

Landscapes in the styles of old masters

China

Album

dated 1668

Album of ten paintings; ink and color on paper

1979.439a–o

清吳歷墨井草堂消夏圖卷

Wu Li, Chinese, 1632–1718

Whiling Away the Summer

China

Handscroll

dated 1679


1977.81

清徐揚等乾隆南巡圖, 第六卷﹕大運河至蘇州

Xu Yang, Chinese, active ca. 1750–after 1776

The Qianlong Emperor's Southern Inspection Tour, Scroll Six: Entering

Suzhou along the Grand Canal (Qianlong nanxun, juan liu: Dayunhe zhi

Suzhou)

China

Handscroll

dated 1770


1988.350a–d

清石濤 (朱若極) 十六羅漢圖卷

Shitao (Zhu Ruoji), Chinese, 1642–1707

The Sixteen Luohans

China

Handscroll

dated 1667


1985.227.1

12


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13