Vorträge & Tagungen


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
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.

HS17 Seo flyer (PDF, 819 KB)

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.

HS17 Namiki flyer (PDF, 1281 KB)

This lecture is open to the public. For questions, please contact the Section for East Asian Art History: kgoa@khist.uzh.ch

An International Workshop between the Sub-Major Curriculum EU- Japanology at the Kansai University, Graduate School of Letters and The Section for East Asian Art History at the University of Zurich

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



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, 1709 KB)

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.



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, 3745 KB)

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, 3668 KB)


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.

FS17_Hill_Flyer (PDF, 2522 KB)

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.

FS17 Institutskolloquium Program (PDF, 1748 KB)


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.

Das Organisationsteam bemüht sich um finanzielle Zuschüsse für Reisekosten. Zum aktuellen Zeitpunkt können jedoch noch keine Finanzierungshilfen zugesagt werden. Wir bitten daher alle BewerberInnen, sich um andere Finanzierungsmöglichkeiten zu bemühen.

Kontakt: Juliane Noth (juliane.noth@fu-berlin.de) und Wibke Schrape (w.schrape@smb.spk-berlin.de)
Das Organisationsteam:
Fabian Kommoß (Universität Potsdam), Alina Martimyanova (Universität Zürich), Juliane Noth (Freie Universität Berlin), Wibke Schrape (Museum für Asiatische Kunst, SMB), Wang Lianming (Ruprecht-Karls-Universität Heidelberg)


Informationen zu Vorträgen und Tagungen der vergangenen Semester im Archiv