The Making of a Standard Mountain: Huangshan Photography and the History of Chinese painting, 1931–1935
Dr. habil. Juliane Noth (Freie Universität Berlin / Universität Heidelberg)
Monday, 3rd December 2018, 18:30-19:30
Rämistrasse 59, 8001 Zurich, RAA-G-15
In the 1930s, Huangshan, a mountain famous for its scenic beauty, became the target of touristic development, and a frequent motif in photography as well as painting. Practitioners of both media referenced earlier traditions of Chinese landscape painting as the mountain was refigured as emblematic of a national landscape. I will discuss how photographers adapted their medium to the landscape, and how this changed perceptions about the history and the pictorial conventions of ink painting.
The lecture will be held in English and is open to the public. For questions, please contact the Section for East Asian Art History: firstname.lastname@example.org
The Transnational Invention of Chinese Art
Prof. Dr. Craig Clunas (University of Oxford)
Friday, 16th November 2018, 18:00-19:00
Rämistrasse 59, 8001 Zurich, RAA-G-01
- Chen Shizeng (1876-1923), Lamp, ink on paper.
Richard Fabian Collection
The creation of a modern Chinese art in the first half of the twentieth century necessarily required the creation of its opposite - ‘traditional Chinese art’, that which by definition was not modern. The materials out of which traditional Chinese art, and in particular ‘traditional Chinese painting’ were constructed were many and various, including the actual art of the past, and the copious historical written record about painting and painters. From the early twentieth century onwards, new structures of collecting and display, as well as new technologies of publishing and reproduction, came together with a range of intellectual and theoretical positions, both indigenous and imported, to make possible a way of looking at the art of premodern China which has endured to the present day. At the same time, the development of art history as a discipline, both inside China and internationally, made the art of the past very much a part of current debate. This lecture will look at some of the ways transnational encounters were crucial to this process.
The lecture will be held in English and is open to the public. It will be followed by a small reception. For questions, please contact the Section for East Asian Art History: email@example.com
The Mass Consumption of Refashioned Clothes: Redyed Kimono in
Prof. Dr. Miki Sugiura (Hosei University)
Friday, 19th October 2018, 12:15–13:15
Rämistrasse 73, 8006 Zurich, RAK-E-8
Among the strategies of post-consumer textile waste management, refashioning or the makeover of used clothes, is gaining attention as value added recycling. However, refashioning business is considered as being possible only on a small scale. This presentation presents a case of its mass scale operation and clarifies the factors that enabled it. From the 1920s to the 1960s, re-dyeing played an indispensable role in Kyoto maintaining its central position in dyed kimono production. This study clarifies how the coordinators of re-dyeing and makeover, the shikkai, established a MTO (make to order) network, forming direct and recurrent ties with customers nationwide.
The lecture will be held in English and is open to the public.
For questions, please contact the Section for East Asian Art History: firstname.lastname@example.org
Painting in North Korea
Dr. Ariane Perrin (Catholic University of Paris)
Friday, 5th October 2018, 18:00
Rämistrasse 59, 8001 Zurich, RAA-G-15
- DPR Korea Grand Tour, Carl de Keyzer, MAGNUM © Roberto Polo Gallery.
In 2018 the Democratic People’s Republic of Korea celebrates 70 years of existence. Following its creation, the State used art primarily in order to disseminate its ideology and to educate the people.
Focusing on the period from the 1970s to the present, this lecture will investigate the main characteristics and developments of North Korean painting, beginning with the New Chosŏnhwa (“Korean painting”) movement. We will look at the doctrinal origin of North Korean art and aesthetics based on the State ideology of Chuch'e (“self-reliance”) and examine the various subject matters that formed the core of this ideology, including theme paintings illustrating important episodes in Korean history, and landscapes and their political narrative. We shall also see how these paintings are made in contemporary collective art production centres – the most important one being the Mansudae Art studio in Pyongyang – and are gaining international recognition, as revealed by the special section on North Korean art at the 2018 Gwangju Biennale.
This event is open to the public and does not require advance registration. The lecture will be held in English. For questions about the event, please contact the Section for East Asian Art: email@example.com
This public lecture is sponsored by the Korea Foundation.