Lehrveranstaltungen HS 2021

Einführung in die Kunstgeschichte Ostasiens

Grundlagenwissen der Kunstgeschichte Ostasiens 
(Übung, BA, Pflicht, 9 ECTS)

Natasha Fischer-Vaidya, lic. phil. & Isabelle Leemann, M.A.

Mittwoch, 14:00–15:45 Uhr (Online mit Präsenzsequenz, RAA-E-29)
Die erste Sitzung am 22. September findet vor Ort statt.

Das Modul richtet sich an Studienanfänger ohne Vorkenntnisse. Im Rahmen des Moduls werden die wichtigsten Gattungen und Techniken der Kunstgeschichte Ostasiens (China, Japan und Korea) vermittelt. Ein weiterer Kerninhalt des Kurses bildet die Grundlagevermittlung der Ikonographie ostasiatischer Kunst auf Basis von ausgewählten repräsentativen Werkbeispielen. Diese Grundlagen werden im Kontext der kulturellen Traditionen Ostasiens besprochen und anhand von mündlichen und schriftlichen Aufgaben geübt. Auf diese Weise wird ein erster Einblick in den Gegenstand des Faches geboten.

Weitere Informationen und den genauen Stundenplan finden Sie im Syllabus.
 


Methoden und Hilfsmittel in der Kunstgeschichte Ostasiens
(Übung, BA, Pflicht, 3 ECTS)

Natasha Fischer-Vaidya, lic. phil.

Freitag, 14:00–15:45 Uhr (Online mit Präsenzsequenz, RAA-E-27)
Die erste Sitzung am 24. September findet vor Ort statt.

Das Modul Methoden und Hilfsmittel in der Kunstgeschichte Ostasiens richtet sich an Studienanfänger in der Kunstgeschichte Ostasiens ohne Vorkenntnisse im Fach. Im Modul werden fachspezifischen Methoden und Arbeitstechniken für das Studium vermittelt. Dabei wird grundlegende Literatur des Faches vorgestellt und besprochen. Ebenso werden Literaturrecherchetechniken und der Umgang mit Forschungsmaterial erläutert und anhand von schriftlichen und mündlichen Aufgaben zu konkreten ostasiatischen Kunstwerken geübt. Auf diese Weise erwerben die Studierenden einen ersten Einblick in den Gegenstand des Faches. Das erlernte praktische Wissen bildet die Grundlage für das weitere Studium und ist für alle nachfolgenden Module relevant.

Weitere Informationen und den genauen Stundenplan finden Sie im Syllabus.
 


Basiskompetenz Kunstgeschichte Ostasiens
(Selbststudium, BA, Pflicht, 3 ECTS)

Prof. Dr. Hans B. Thomsen

Mündliche Prüfung, 2. Januarwoche

Das Modul dient zur Standortbestimmung und Reflexion der erworbenen Grundkenntnisse im Bereich der Kunstgeschichte Ostasiens, welche zum Behandeln komplexer Zusammenhänge im fortgeschrittenen Studium grundlegend sind. Basierend auf den Inhalten der Module „Grundlagenwissen in der Kunstgeschichte Ostasiens“ und „Methoden und Hilfsmittel in der Kunstgeschichte Ostasiens“ sowie einer Anzahl ausgewählter Fachtexte werden Fachkenntnisse sowie Methodenkompetenzen mündlich abgeprüft.

Weitere Informationen

Theorien und Methoden

Individuum und Gesellschaft in der Kunst Ostasiens – Art and Politics: Class and Power in Chinese Art
(Seminar, BA, 6 ECTS)

Prof. Dr. JP Park (externer Lehrauftrag)

Blockveranstaltung (Online)

This course is designed not only to present a survey of Chinese art but also to provide students with a chance to learn how to read social programs of Chinese history represented in visual language. In order to do this, the course asks students to think of questions, such as “Why does a particular artifact look the way it does?” “Who made it and who obtained it?” “Where was it displayed and for what purpose?” “Who decided what was acceptable and who, if anyone, challenged established styles of production?” Rather than seeing artwork as a passive indicator of changing artistic norms and paradigms, students will learn to interpret images and art critical writing as vehicles through which diverse social groups negotiate competing values and social norms. The issues of power, class, taste, gender, political debate, social criticism, and public opinions throughout Chinese history will be discussed in the class in order to let students understand that art and society are not two separate entities, but they are related to each other in many ways. 

The knowledge obtained through addressing these questions will then lead students to a better understanding of Chinese art and society where art functioned as a site for social and political negotiation. In short, this course will teach students how to read social history from art works. The primary materials of investigation in the class will be paintings, but other visual media such as sculpture, crafts, book illustrations, photography, and even consumer products will also be incorporated into the discussion. A range of scholarly studies will be introduced, which are built upon different academic methodologies and perspectives. No previous knowledge of Chinese Art History or History is necessary.

Termine:
Monday 13th September  10:15-12:00 & 14:00-15:45
Tuesday 14th September  10:15-12:00 & 14:00-15:45
Wednesday 15th September  10:15-12:00 & 14:00-15:45
Thursday 16th September  10:15-12:00 & 14:00-15:45
Friday 17th September 10:15-12:00 & 14:00-15:45

Wednesday 8th December   10:15-12:00 & 14:00-15:45
Thursday 9th December 10:15-12:00 & 14:00-15:45
 


Imaging/Imagining Gardens of East Asia
(Vorlesung, BA/MA, 3 ECTS)

Prof. Dr. Hans B. Thomsen

Tutorin: Florence Marti

Freitag, 12:15–13:45 Uhr (Online)

East Asian gardens were meant to evoke feelings of being in a different world in places with connections to natural elements and spiritual meanings. By observing a garden or actually wandering through its spaces, the visitor could immerse him or herself into separate existence. Within the garden, objects take on symbolic meanings, and groups of garden rocks could become mountain ranges with towering peaks; miniature trees and bushes could suggest ancient trees and forests; small ponds or springs could represent mighty lakes and rivers, and raked sand could suggest wave patterns in the ocean. In other words, the garden presented the larger world of nature in microcosm. 

Many elements we see around us in the West were avoided, such as masses of colorful cultivated blossoms, flowerbeds of regular geometric shapes, and singular vistas (such as the formal gardens at Versailles). Instead, aspects of an East Asian garden are revealed one at a time, in a carefully constructed program. The garden's scenery is constantly altered by the act of moving through its spaces and by the shifting effects of light and the seasons – all of which engage not only sight, but also the other senses.

In this course, we will be looking at the history and idea of gardens, both realized in physical forms, and depicted in other media. We will also look at how the idea of East Asian gardens were received – mainly, but not exclusively, in the West – through media as disparate as paintings, literature, and actual gardens – whether large-scale or table-top. We will also have a chance to see gardens in Zurich, through local excursions, looking at the well-known China Gardens and also some lesser-known variations throughout the city.
 


Lektürekanon in westlichen und ostasiatischen Sprachen
(Selbststudium, MA, 6 ECTS)

Prof. Dr. Hans B. Thomsen

Prüfung 2. Januarwoche, nach Vereinbarung

Durch das Selbststudium vorgegebener sowie nach Absprache entsprechend dem eigenen Studienschwerpunkt angepasster Forschungsliteratur wird das eigene Wissen über Inhalte, Diskurse, Theorien und Methodologien im Bereich der Kunstgeschichte Ostasiens ergänzt, vertieft und erweitert. Besonders das Lesen von Quellen auf Englisch sowie einer selbst gewählten ostasiatischen Sprache sind integraler Bestandteil des Moduls.

Studierende, die das Modul absolvieren, sind gebeten in der 2. Vorlesungswoche sich mit dem Anmeldeformular bei den Assistenten des Lehrstuhls zu melden.

Weitere Informationen

 

Landesspezifische Kontexte und Inhalte

Bewegung der Kunst zwischen Ostasien und den Westen – Moving Art/Kunst in Bewegung
(Seminar, MA, 9 ECTS)

Prof. Dr. Hans. B. Thomsen

Tutorin: Jisoo Lee

Mittwoch 10:15–12:00 Uhr (Online)

We are too used to seeing the arts of East Asia in immobile contexts, with objects fixed at one angle, and with the viewer looking from only one side, even when objects are fully three-dimensional. We tend to think of the works of art as stationary, unmoving objects, yet they have an important aspect of movement that is ignored. This course is an effort to widen our perspectives and to look at East Asian works of art in new ways. 

During the seminar, we will define the word movement as a word that describes objects that a) can exist in motion, b) can be placed into motion, or c) can force the viewer to move. Generally stated, these are the three types: 

1.  Objects that have a kinetic moment of its own. Such as karakuri dolls, anime, Asian cinema, etc. 

2.  Objects which have to set into motion in order to have a function – that is, they have to move in order to have a specific meaning intended by its creator. Often, there is a specific performative function to these objects. Such as tea bowls (and other tea-ceremony-related objects), netsuke, paintings on sliding doors, handscrolls, hanging scrolls and screens (when opening), architecture, interior design, Noh masks, folding fans, books and albums, kamishibai, etc.

3.  Objects with a clear three-dimensional element, where the viewer needs to move in order to fully understand the object. Such as architecture, sculpture, interior design, etc.

Common for all three categories are that images in art history textbooks – or in PowerPoint presentations – cannot do full justice to the objects, as we lose the vital aspect of movement. It is also important to remember that we are not merely talking about outer, formal aspects of the objects. With movement, the objects take on new functions, new contexts, and new meanings. The object of the seminar is to look at such objects through this prism of movement and to thereby come to a fuller understanding of key aspects East Asian works of art.

As for the structure of the seminar, after the introductory session, where we will discuss the parameters of the course, I will lead two sessions in which I will present two groups of objects. After this, sessions and topics will be open for all participants. The presenters are expected to find and discuss an object (or group of objects) that they believe is/are influenced by one of the three factors outlined above. This object(s) can be from any East Asian culture and stem from any historical period – it is also possible to show changes over several historical periods. You are also encouraged to take virtual or actual trips to the museum in order to choose your object.

Museum und Archiv

Deciphering Japanese: Reading the Early Modern Catfish Print
(Übung, BA/MA, 3 ECTS)

Prof. Dr. Hans B. Thomsen

Donnerstag 10:15–12:00 Uhr (Online, jede 2. Woche ab 23.09.2021)

East Asian art history often deals with works of art that contain words and images, with a close interplay between the words and the corresponding images. The awareness of this relationship is essential for a full understanding the work of art.  For this reason, it is important for us to be able to understand the written parts of the work, which raises difficulties, due to the complexity of the East Asian languages and its written forms. 

In the autumn semester of 2021 new will examine these problems by practicing the reading of Japanese characters found on a specific type of Japanese woodblock prints, namely its catfish prints, a popular type of prints that was used in part, to prevent earthquakes in early modern Japan. Much scholarship has been written on these prints, including in Western languages.  You will be working independently, with your professor, and Japanese scholars, in our quest to learn how to read prints.

Basic knowledge of Japanese is recommended for participants of this course. Please contact Prof. Thomsen, should you have questions about your ability to participate.
 


Splendid Silks: Einführung in die traditionelle Textilkunst Chinas
(Übung, BA/MA, 6 ECTS)

Michèle Grieder, lic. phil. (externer Lehrauftrag)

Dienstag, 14:00–15:45 Uhr, SOE-F-11

Die Überlieferung von prachtvollen Seiden aus drei Jahrtausenden bezeugt Chinas hohe Textilkunst. Ein historischer Überblick von der Zhou bis zur Qing Dynastie soll diesen Reichtum beleuchten und die wichtigsten Entwicklungen in der Textilgeschichte aufzeigen. Ziel ist es, den Blick zu schärfen und Gewebesorten sowie Musterungstechniken unterscheiden zu lernen. Dabei werden textiltechnische Basisbegriffe erarbeitet, die für den wissenschaftlichen Umgang mit Textilien unumgänglich sind. In geplanten Exkursionen werden zudem direkte Einblicke in das Ausstellen und Archivieren von historischen Textilien geboten.

Der Kurs richtet sich an Studierende der Kunstgeschichte, die ein Interesse an der wissenschaftlichen Auseinandersetzung mit chinesischen Textilobjekten haben. Voraussetzung für das Bestehen der Übung ist die regelmässige und aktive Teilnahme, ein Kurzreferat (15 Min.) zu einem Textilobjekt (od. einer Textilgruppe) nach Absprache, sowie eine schriftlich verfasste Arbeit dazu (8-10 Seiten). Die Unterrichtssprache ist Deutsch, jedoch kann auch in Englisch diskutiert, präsentiert und geschrieben werden.
 

 

Perspectives and discourses on authenticity and reproduction in East Asian art history
(Übung, BA/MA, 3 ECTS)

Isabelle Leemann, M.A.

Mittwoch, 12:15–13:45 Uhr (jede 2. Woche ab 22.09.2021), RAA-E-21

The status of copies and reproductions, and practices involving their use, have been gaining increasing attention in the field of East Asian art history in recent years. The discourse on copies and reproductions emphasizes their important role in artistic training, the dissemination and transmission of knowledge and culture, the preservation and continuity of tradition and cultural identity, and as offering valuable research data.

In this course, we will address and discuss questions and debates surrounding concepts of originality, copying, and reproduction in East Asia. For example, how “authentic” is a reproduction of an artwork shown in an exhibition? Why are copies of lost artworks considered masterpieces in their own right? We will study various tools and methods involved in copying and reproduction (such as painting manuals, woodblock printing, the use of moulds, tracings and ink rubbings) as well as explore the purposes for which copying and reproduction techniques were applied, for example, as a pedagogical tool in artistic training, the use of printing or modular techniques for large-scale production, and reproduction as a form of conservation and preservation. Copies and reproductions represent valuable records that allow us to study artworks that have long been lost. Hence, we will also look at the current role that copies and reproductions play in art history but also in the fields of art education and museum work.

This course consists of group discussions based on readings and presented case studies. As a more practical component, visits to museums are also planned. The course will be held in German and English. All assignments may be completed in either of the two languages.

Abschluss

Kolloquium für Studierende des Masterstudiengangs und Doktorierende

Prof. Dr. Hans B. Thomsen

Donnerstag, 14:00–15:45 Uhr (Online, jede 2. Woche ab 23.09.2021)

Das Modul dient durch die Präsentation des Grundkonzepts der Masterarbeit sowie der kritischen Diskussion der darin entwickelten Inhalte und Methoden der Standortbestimmung zur Vorbereitung der abschliessenden Masterarbeitsphase. Gleichfalls dient der Austausch mit Mitstudierenden und Betreuern der Vertiefung und kritischen Reflexion wissenschaftlicher Arbeiten und Arbeitsweisen.