Mirae kh RHEE, “Collecting Crave: Curiosity Cabinets from Saxony to Joseon”

We are very excited to invite you to the next VMPEA workshop taking place TuesdayFebruary 13, from *5-7pm* at CWAC 152. This workshop will be featuring:

 

Mirae kh RHEE

Artist-Researcher, Museum für Asiatische Kunst and Ethnologisches Museum, Staatlichen Museen zu Berlin

 

Who will be presenting the paper

“Collecting Crave: Curiosity Cabinets from Saxony to Joseon”

 

For those who would like to participate on Zoom, please register through this link. The abstract and bio for this presentation can be found below.

 

~We hope to see many of your faces in CWAC 152~

 

 

Image: Choi Chul Lim, Incheon Art Platform

 

Abstract

RHEE’s artistic project invites us into the long history of the collector and collections from both East Asia and Western Europe. The artist’s interest in princely collections coupled with the critical examination of European acquired ethnographic objects takes us along the historical path of Jesuit priests who landed in the Portuguese colony of Macao to journey to the Beijing court of Ming Dynasty, the site of cultural exchange with Joseon Korea in the 17th-18th century. Interrogating presentation and collection practices of the male ruling elite and examining works from collections that extend from the famed Green Vault in Dresden to the Metropolitan Museum of Art in New York, the artist fashions her own Wunderkammer. Wunderkammern, or cabinets of curiosities, arose in mid-16th century Europe as repositories for wondrous objects but gradually appeared in 17th-18th century Qing China and Joseon Korea in the form of Chinese treasure boxes (Duobaoge) and Korean still-life genre painting of books and the scholar’s room (Munbangdo). This project is not just an intervention into the European, patriarchal, and colonial collection but a reinvention of the Korean version, called Munbangdo. From this jumping off point, RHEE collects objects from her network and communities, which are presented in various forms including drawing, painting, photography, ceramics, and augmented reality, engaging in hybrid analog and digital installations. Presenting objects in forms other than the original evokes the Confucian values of austerity and humility, since Koreans did not publicly display their collectibles, preferring painted screen portrayals. New forms of representation also imagine a new aura of objecthood to rethink beyond the Walter Benjamin argument that the artifact loses its aura through reproduction, and instead offering a unique way to experience aura beyond local, national, and geopolitical boundaries.

 

Bio

South Korean born social practice artist (이미래/李未來) Mirae kh RHEE’s transracial life experiences led her to work between the United States, South Korea, and Germany, where learning foreign languages, code-switching, and cultural traditions and customs continuously inform her artwork. Through the lens of transnational feminism, she creates complex research-based Gesamtkunstwerk(e) that tell autoethnographical narratives. RHEE received her MFA in Studio Art at the University of California-Irvine, where she was a Graduate Studies Diversity Scholar and Jacob K. Javits fellow. As the current Artist-in-Residence at the Museum für Asiatische Kunst and Ethnologisches Museum, Staatlichen Museen zu Berlin, she is preparing for a solo exhibition. In 2025 the project will be on view at the Residenzschloss (Dresden Castle) as part of the Transnational Academy of the Staatliche Kunstsammlung Dresden. www.mirae-kh-rhee.com.

Ouyang Zhenyu, “Modern Approaches to Restoration: The Dispersed Chinese Art Digitization Project (DCADP)”

Please join us on Monday, February 5, from 4:45-6:45pm at *CWAC 157* for a special workshop of VMPEA featuring:

 

Ouyang Zhenyu

Lecturer in Fine Arts, School of Humanities and Social Sciences, Xi’an Jiaotong University

 

Who will be presenting the paper

“Modern Approaches to Restoration: The Dispersed Chinese Art Digitization Project (DCADP)”

*With a reception to follow in the CWAC lounge*

 

For participants on Zoom, please register at this link (password: 000000). Please see the abstract and bio of our presenter below.

 

We hope to see many of your faces there!

 

This event is sponsored by the Center for the Art of East Asia, University of Chicago.

 

 

Abstract

This lecture will mainly introduce the overall academic concept and research methods of the DCADP project. Through introducing the research achievements and processes of the Zhihua Temple Digital Restoration Project and the Empress Procession Restoration Project in Binyang Central Cave, Longmen Grottoes, this presentation aims to elucidate the value and role of plastic artists and digital technology in the field of art history. Taking the Empress Procession restoration project as an example, this presentation hopes to bring forward discussions on the definition and concept of “restoration” as well as some thoughts on how to accurately interpret the significance and possible application of our restoration research.

 

Bio

Ouyang Zhenyu is a lecturer in the Fine Arts Department in the School of Humanities and Social Sciences at Xi’an Jiaotong University. He is also advising several Master’s theses and currently a doctoral candidate in the School of Human Settlements and Civil Engineering at Xi’an Jiaotong University. He is a practicing sculptor and has engaged in research on traditional Chinese plastic arts. In recent years, he primarily focuses on research related to the digital restoration and exhibition of Chinese cultural heritage dispersed overseas.

[Co-sponsored with EATRH] Rachel Silberstein, “’The Seventy-Two Kinds’: The Cloth Classic and the Jiangnan Cotton Finishing Sector”

Dear all,

 

We cordially invite you to VMPEA workshop’s first event of the winter quarter, co-sponsored with East Asia: Transregional Histories (EATRH) workshop, taking place Thursday, January 25, from 4-5:30pm CT at SSRB Tea Room (Room 201, 1126 E 59th St). This event will be featuring:

 

Dr. Rachel Silberstein

Who will be presenting the paper

“’The Seventy-Two Kinds’: The Cloth Classic and the Jiangnan Cotton Finishing Sector”

Discussant: Yin Cai

PhD Candidate, History, UChicago

 

Please note that there is a pre-circulated paper for this workshop, available here under the password “XiuMianFuRong”.

This event will be a hybrid event, and registration is necessary. If you wish to join on Zoom, please register at this link. Please see below for the abstract for Dr. Silberstein’s talk.

 

We look forward to seeing you there!

Yours,

Yan & Alan

*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.

 

 

Abstract

Economic historians have asserted that Jiangnan cotton fabrics improved in quality through the Qing period, allowing those producers who focused upon styles, colors, and fashion to earn better profits and leading to numerous different options – the “seventy-two kinds”. But what techniques were used to create those styles, colors, and fashions, and to what extent did the finishing sector of the cotton industry – the dyers and the calenderers – rather than the weavers, enable this purported expansion of styles and increase in profits? The notion that coloring and finishing options expanded for the ordinary people who wore cotton cloth is an intriguing proposition in relation to several historical debates, including comparative living standards, commercialization of the cotton industry, and the history of Asian dye technologies. However, though the vast majority of Qing Chinese would have worn cotton or ramie, these claims cannot be substantiated through material culture history: the biases of collecting and material survival mean that extant cotton garments are rare and studies of Qing dress are dominated by silk.

Accordingly, The Cloth Classic (布经), an late eighteenth-century compendium of advice and experience written by a cloth merchant for cloth merchants, possesses considerable value for understanding the causes and impact of advances in cotton finishing. It contains a long and detailed section on cloth dyeing, including 68 recipes for different colors, a surprisingly large number given the assumption that societies with indigenous cotton production like China could only dye indigo blue or tannin brown due to the difficulties of dyeing cellulosic cottons, unlike proteinaceous silks and woolens. This paper analyzes the dyeing and calendering content of The Cloth Classic within the context of developments in the Qing period Jiangnan cotton industry. By evaluating four factors that potentially drove the expansion of the finishing sector: technical innovations, dyestuff trade, commercial organization, and consumer demand, I use this commercial text to redress the unrepresentative material archive, to verify the existence of the “seventy-two kinds,” and to provide insights into the economic and cultural significance of the Jiangnan dyeing and calendering workshops.

Sijia Huo, “The Materiality and Spatial Context of the Tiantang Colossal Buddha Statue in Luoyang in the Late 7th Century”

Dear all,

 

We are excited to announce our fifth and last workshop of the fall quarter, taking place Wednesday, November 29, from 4:45-6:45pm CT at CWAC 152. This event will be featuring:

 

Sijia Huo

Visiting PhD Candidate, UChicago

National Institute for Advanced Humanistic Studies, Fudan University

 

Who will be presenting on:

“The Materiality and Spatial Context of the Tiantang Colossal Buddha Statue in Luoyang in the Late 7th Century”

 

Discussant: Wei-Cheng Lin

Associate Professor of Art History and the College, UChicago

For those who are joining on Zoom, please register at this link (password: 000000). Please see below for the abstract and bio for Sijia’s presentation.

 

Let’s finish the quarter strong and we ~Hope to see you there!~

 

Yours,

Alan & Yan

Image: Archaeological fieldwork at the central pit of Tiantang in the 1970s

 

Abstract

Not long before Wu Zetian officially ascended the throne, a magnificent building called “Tiantang” was built in the Palatine City of Luoyang, in which a colossal Buddha statue was placed. This colossus existed for only a few years before being completely destroyed by a fire. Although there are some relative historical records and archaeological evidence, it is still a challenge to depict such an object that could no longer be accessed physically. One of the most thorough previous historical studies is from Antonino Forte. After scrutinizing the text resources in detail, he proposed that the “Tiantang” was an essential part of the “Mingtang” complex, and explained its significance as a Buddhist utopia. At the time he was conducting his research, the archaeological report on the site of “Tiantang” had not yet been published. With great respect to Forte’s extraordinary work, this paper will focus on the materiality and spatial context to further explore the various details during the construction process of the colossal statue and the architecture. I contend that the colossal hollow dry lacquer statue was made in parts, and then assembled in Tiantang with the support from the central pillar structure. In this way, the designer of Tiantang succeeded in integrating a colossal Buddha statue with a great tower. By examining the relationship of Tiantang, Wucheng Hall and Mingtang, it can be concluded that Wu Zetian created a completely new ruling space for herself. On the basis of these analysis, we may expect to clarify the differences between the discourse presented in historical records and the practice of making the statue and surrounding complex.

 

Bio

Sijia Huo is a PhD candidate of National Institute for Advanced Humanistic Studies, Fudan University. Her research interests include Buddhist art and stone inscriptions in medieval China. She is working on her PhD dissertation about colossal Buddha statues in the Tang Dynasty.

Wei-Cheng Lin teaches in the Department of Art History at the University of Chicago. He specializes in the history of Chinese art and architecture with a focus on medieval periods. His primary interests of research are visual and material cultural issues in Buddhist art and architecture and China’s funerary practice through history. He is the author of Building a Sacred Mountain: The Buddhist Architecture of China’s Mount Wutai, published by the University of Washington Press in 2014. He has additionally published on a variety of topics, including collecting history, photography and architecture, historiography of Chinese architectural history, and contemporary Chinese art.

Lisha He, “Emperor Qianlong and His Alcove Daybed with Wall-filling Mirrors”

We cordially invite you to join us for our next meeting of VMPEA, taking place *Friday, November 17* from 4:45-6:45pm CT at CWAC 152, featuring:

 

Lisha He

Visiting PhD Candidate, Art History, UChicago

School of Architecture, Tianjin University

 

Who will be presenting the paper

Emperor Qianlong and His Alcove Daybed with Wall-filling Mirrors”

 

Discussant: Yan Jin

PhD Student, Art History, UChicago

 

*Please note the special date of this event.* For Zoom participants, please register at this link (password: 000000). And please see the abstract and bio of our presenter below.

We hope to see many of you in CWAC 152!

 

Image: Alcove Daybed in Changchun shuwu, Yangxindian.

 

Abstract

With the breakthrough of plate glass-making technology in the West, and Sino-Western material exchange in the 18th century, glass mirrors were introduced to the Qing Court, and were widely used in interior design. An alcove daybed with one or two wall-filling mirrors was a unique spatial pattern created and favored by Emperor Qianlong. This design was not only found in his commissions within the Forbidden City but also in the gardens of western Beijing suburbs and the summer residence in Jehol.

As most of these buildings were destroyed, I will first provide a brief overview of the reconstruction results. While the quantity and placement of glass, along with its interaction with individuals on the daybed, may vary across cases, they consistently reflect Emperor Qianlong’s intention to construct a room enclosed by mirrors.

Finally, I will focus on the Bilin Gloriette (碧琳館) in the Garden of Jianfu Palace, where this spatial pattern was first applied. The spatial context of the Bilin Gloriette, Emperor Qianlong’s interaction with mirrors, and his insights on self-cultivation imply that this room is designed for cultivating inner vacancy. Presumably, it embodies Zhuangzi’s metaphorical concept of Vacant Room (虛室) through the strategic use of mirrors.

 

Bio

HE Lisha is a PhD Candidate in the School of Architecture, Tianjin University. Her research focuses on non-structural carpentry and interior space of Qing palace buildings. With special interest in the Qianlong Period, she is currently working on interior space with glass and glass mirrors commissioned by Emperor Qianlong.

 

Yan JIN is a PhD student in Art History at UChicago studying visual and material culture of late imperial China, with a special focus on the art of Qing court. Her research explores issues of cross-regional exchanges, intermediality, as well as objects and agency.

Paul Copp, “Deity Seals in the Securing of the Dead (First Centuries CE)”

Please join us on Wednesday, November 8, from *5:15-7:00pm CT* at CWAC 152, for our third meeting of the quarter, featuring:

 

Paul Copp

Associate Professor in Chinese Religion and Thought, East Asian Languages and Civilizations, UChicago

Who will be presenting the paper

Deity Seals in the Securing of the Dead (First Centuries CE)”

 

Discussant: Zhenru Zhou

Postdoctoral Fellow, School of Architecture, Tsinghua University

Please note that there is a pre-circulated paper for this workshop, available here under the password “sealed”.

If you wish to join on Zoom, please register at this link (password: 000000).

*Please also note the slightly later start time of this workshop due to an event hosted by the Japanese Art Society of America and featuring Chelsea Foxwell at 4pm CT, related to the exhibition “Meiji Modern: Fifty Years of New Japan” (please find more information about this webinar at the end of this post).

We look forward to seeing you in CWAC 152!

 

 

Abstract

This is a chapter from an in-process book titled *The Ritualist’s Seal: Object, Practice, and Knowledge in China, ca 100 – 1000 CE.* The book covers materials from Eastern Han tombs to Dunhuang manuscripts, making an argument for the importance of seals in Chinese religious history, the ways they transformed both material ritual practices and philosophical conceptions of the nature of reality (and of the human relationship with it) in both Buddhist and Daoist texts. The chapter I’d like to present is a study of the earliest appearances of ritual seals in China: in Eastern Han tomb assemblages for the “securing of the grave” 鎮墓, whether as actual seal matrices or sealings, or as descriptions in texts included in the assemblages. It’s based in archaeological reports and seal collections (mostly from the 19th and early 20th centuries), but also draws heavily on both art historical and environmental historical studies. Among other things, the paper argues that seals were not—as they have usually been understood—the seals of local human ritualists, but instead the seals of deities placed in the tombs in order to make present their powers and intentions.

Bio

Paul Copp teaches in the Department of East Asian Languages and Civilizations at the University of Chicago. He is the author of The Body Incantatory: Spells and the Ritual Imagination in Medieval Chinese Buddhism, and the co-editor (with Wu Hung) of Refiguring East Asian Religious Art: Buddhist Devotion and Funerary Practice. His paper for the workshop is drawn from his current book project, “The Ritualist’s Seal: Object, Practice, and Knowledge in China, ca. 100 – 1000.

Zhenru Zhou is a post-doctoral fellow at the School of Architecture, Tsinghua University, Beijing, China. She recently received a Ph.D. degree in art history from the University of Chicago. She specializes in premodern Buddhist art and architecture in China and along the eastern silk roads.

 

*At 4pm CT, there will be a live zoom webinar “Exhibiting Meiji Art and Culture: Curatorial Perspectives”, in which Professors Bradley Bailey, Chelsea Foxwell, and Takuro Tsunoda will be giving individual presentations on Meiji Modern: Fifty Years of New Japan and the exhibition The Development of Visual Culture in the Meiji Era recently held at the Aichi Prefectural Museum of Art in Nagoya and discuss their challenges, goals, and future aspirations for exhibiting Meiji art. This event is hosted and sponsored by the Japanese Art Society of America (JASA). Please click here to register for the Zoom event.

Susan Huang, “The Fodingxin Dharani Scripture and its Audience”

We are delighted to announce that in addition to the Smart Lecture, Professor Shih-shan Susan Huang will be at the VMPEA workshop on May 12 (Friday) from 4:45–6:45pm CT at CWAC 152 to discuss an article derived from her latest book project. We also invite you to come and ask any remaining questions you may have after the Smart Lecture.

 

Shih-shan Susan Huang

Associate Professor of Transnational Asian Studies, Rice University

Who will be presenting and discussing the paper

“The Fodingxin Dharani Scripture and its Audience: Healing, Talisman Culture, and Women in Popular Buddhist Print Culture”

Friday, May 12, 2023

4:45–6:45 pm CT, CWAC 152

*A light reception will follow at the department lounge.

 

Fodingxin Dharani Scripture. 1102 CE. Northern Song. National Library, Beijing.

 

Abstract

This study examines the book art contained within the Fodingxin Dharani Scripture (Fodingxin tuoluoni jing 佛頂心陀羅尼經; hereafter also called the dharani text), with the broader concerns of how popular Buddhist print culture addresses healing, talisman culture, and women. The primary sources it investigates include a ninth-to-tenth century Dunhuang manuscript and other illustrated printed counterparts dated from the twelfth to the fifteenth centuries. The Fodingxin Dharani Scripture, an indigenous Chinese Buddhist text traceable to medieval Dunhuang manuscript culture, synthesizes miscellaneous beliefs, turning a Buddhist scripture into a form of magical medicine. The twelfth century marks fresh illustrative and talismanic traditions in the print age. The printed text is accompanied by a frontispiece at the beginning, and three talismanic scripts at the end. The book art of the Fodingxin Dharani Scripture reached its peak in the first half of the fifteenth century. In addition to the frontispiece and talismanic scripts, the text is fully illustrated throughout, with its new illustrated repertoire highlighting the healing power of the scripture and the dharani charms, as well as the challenges women faced in childbirth. Numerous extant specimens offer valuable documentations of its donors, most of whom were residents in Ming (1368–1644) Beijing. Accompanied by lively narrative pictures and containing Daoist-inspired talismanic writs that promise to save women from birth complications, it was often printed on demand. Women and their families, preoccupied with childbirth complications or ardently desiring a baby boy, were its main donors.

 

Shih-shan Susan Huang (PhD, History of Art, Yale) is an Associate Professor at Rice University’s newly-founded Department of Transnational Asian Studies. Her book, Picturing the True Form: Daoist Visual Culture in Traditional China (Harvard Asian Center, 2012), translated into Chinese by Dr. Zhu Yiwen, was published by Zhejiang University Press in 2022. She co-edited Visual and Material Cultures of the Middle Period China with Patricia Ebrey (Brill, 2017). Her recent articles explore Song-to-Ming book art of the Lotus Sutra and Diamond Sutra, Buddhist printing under Tangut Xi Xia rule, and painting and printing connections. Huang’s new monograph, The Dynamic Spread of Buddhist Print Culture: Mapping Buddhist Book Roads in China and its Neighbors, forthcoming in the Brill series Crossroads – History of Interaction across the Silk Routes, examines printed images and texts as objects “on the move”, as they were transmitted along networks and book roads in a transnational context. For more information, visit https://shihshansusanhuang.com/

Eugene Wang, “What is psychocosmic painting and how it came into being?”

We are pleased to invite you to a special VMPEA lecture next Monday, May 8, at 4:45 pm CT presented by Professor Eugene Wang from Harvard University. In his talk, Professor Wang will delve into the fascinating concept of psychocosmic painting and its origins in the work of the Taiwan-based Chinese artist Liu Guosong. This event is followed by a reception at the CWAC lounge.

Eugene Wang

The Abby Aldrich Rockefeller Professor of Asian Art, Harvard University

Presenting:

“What is psychocosmic painting and how it came into being?”

4:45-6:45 pm CT, May 8, 2023

Cochrane Woods Art Center, 152

Please use this link if you plan to join this event virtually. No registration is required. Password: “eclipse”

*Reception to follow in Cochrane Woods Art Center lounge

Liu Guosong. Eclipse, 1971. Detail. Private Collection, Hong Kong. Photo by Eugene Wang.

 

Abstract 

History of art often comes down to the perennial struggle to conceive terms to capture new art forms and experiences. In the 1960s, the Taiwan-based Chinese artist Liu Guosong (1932-) produced a type of sublime paintings never seen in the history of Chinese art. No readymade term applies. He called it “abstract painting.” The term stuck. Over time, it also shows its strains, as it hardly captures the scope of his evolving long career, nor his prodigious output, ranging from astral bodies to planetary earth. Six decades later, we still search for a proper descriptive language to come to terms with his paintings. In hindsight, “psychocosmic painting” may be closer to capturing the dynamics of his oeuvre, alternatively called “metaphysical painting.” Its central impulse is to integrate mind and cosmos through the medium of painting. How so? Why him? Professor Wang’s lecture will unpack these questions.

 

Eugene Y. Wang is the Abby Aldrich Rockefeller Professor of Asian Art at Harvard University. He holds positions in History of Art and Architecture, Archaeology, Study of Religion, Theater, Dance, and Medium, and Inner Asia and Altaic Studies. A Guggenheim Fellow (2005), he is the art history editor of the Encyclopedia of Buddhism (2004). His extensive publications range from early Chinese art and archeology to modern and contemporary Chinese art and cinema. His book, Shaping the Lotus Sutra: Buddhist Visual Culture in Medieval China (2005), explores Buddhist worldmaking; it received the Sakamoto Nichijin Academic Award from Japan. His current research focuses on cognitive study of art and mind. He is also the founding director of Harvard CAMLab that explores expanded scenography through digital media.