EAAA The Third Conference of the European Association for Asian Art and Archaeology 13–17 September 2023 Faculty of Arts, University of Ljubljana Book of Programme and Abstracts EAAA The Third Conference of the European Association for Asian Art and Archaeology 13–17 September 2023 Faculty of Arts, University of Ljubljana egional Museum lma Karlin`s Collection, Celje R a, A uchiw an al f Ov The Third Conference of the European Association for Asian Art and Archaeology Book of 13–17 September 2023, Faculty of Arts, University of Ljubljana, Slovenia Book of Programme and Abstracts Programme Editor: Nataša Vampelj Suhadolnik Technical editor: Nina Kozinc Design: Jernej Kejžar Proofreader: Abigail Graham and Abstracts Editorial board: Tina Berdajs (University of Ljubljana) Helena Motoh (Science and Research Centre Koper) Marko Ogrizek (University of Ljubljana) Organisational committee: Nataša Vampelj Suhadolnik (University of Ljubljana & EAAA) Hans Bjarne Thomsen (University of Zürich & EAAA) Tina Berdajs (University of Ljubljana) Helena Motoh (Science and Research Centre Koper) Maja Veselič (University of Ljubljana) Team of students (Department of Asian Studies, Faculty of Arts, University of Ljubljana): Lucija Berčič, Sabrina Japelj, Katarina Jereb, Maja Maria Kosec, Vida Krevs, Ines Marhat, Rostja Močnik, Katarina Rozman, Veronika Špeh, Neža Vombergar The conference is jointly organised by the European Association for Asian Art and Archaeology (EAAA), the Department of Asian Studies at the Faculty of Arts, University of Ljubljana and the Science and Research Centre Koper, Slovenia. The organisers would like to thank the Chiang Ching-kuo Foundation for International Scholarly Exchange, the Faculty of arts at the University of Ljubljana and the Slovenian Research and Innovation Agency for their generous financial assistance. Published by: Založba Univerze v Ljubljani (University of Ljubljana Press) Issued by: Znanstvena založba Filozofske fakultete Univerze v Ljubljani (University of Ljubljana Press, Faculty of Arts); Department of Asian Studies For the publisher: Gregor Majdič, rector of the University of Ljubljana For the issuer: Mojca Schlamberger Brezar, Dean of the Faculty of Arts, University of Ljubljana Printed by: Birografika Bori d. o. o. Ljubljana, 2023 First Edition Number of copies printed: 250 Publication is free of charge. First e-edition. Digital copy of the book is available on: https://ea-aaa.eu/conference-eaaa/ DOI: 10.4312/9789612971533 Kataložna zapisa o publikaciji (CIP) pripravili v Narodni in univerzitetni knjižnici v Ljubljani Tiskana knjiga COBISS.SI-ID=162980099 ISBN 978-961-297-155-7 E-knjiga COBISS.SI-ID 162803715 ISBN 978-961-297-153-3 (PDF) Table of Contents Welcome Message 6 Conference Programme Overview 8 Keynote Speech 12 Conference Programme in Details 14 Abstracts 29 Wednesday, 13 September 2023 31 Thursday, 14 September 2023 67 Friday, 15 September 2023 103 Saturday, 16 September 2023 139 Conference General Information 183 Guided Tour in Ljubljana 189 Post-Conference Trip Celje 190 egional Museum Post-Conference Trip Piran 192 Alphabetical Index of Participants 194 lma Karlin`s Collection, Celje R, A Appendix 197 buchae an al f Ov Welcome Message you to find out more in our panel exhibition presenting the five major collections and the database in the entrance hall of the Faculty of Arts. Furthermore, we have cooperated with museums to put on two smaller exhibitions, which you can see on your excursion on the last day of the conference. The exhibition On behalf of the European Association for Asian Art and Archaeology and the Departin the Celje Regional Museum shows objects confiscated during the Nazi and Commu-ment of Asian Studies at the Faculty of Arts, University of Ljubljana, it is my great honour nist regimes, mainly from the surrounding castles and manor houses. Most of these ob-to welcome you all to the 3rd International EAAA Conference, hosted by the Depart-jects are being exhibited for the first time. The exhibition at the Maritime Museum Piran ment of Asian Studies at the Faculty of Arts, University of Ljubljana. As a local organiser shows objects acquired by the sailors who travelled to East Asia on board Austro-Hun-of this conference, it gives me even greater pleasure to finally welcome you to Ljubljana, garian military and merchant ships in the 19th and early 20th centuries. It presents ob-a full six years after the last EAAA conference, which took place in Zurich in 2017. jects from various museums as well as from private collections. In addition, decorative As many of you know, our 3rd conference was originally planned for September 2020. In wall screens and a wooden model of a Chinese house from the Skušek collection are February of that year, the whole programme, the accompanying events and everything being restored at the Slovene Ethnographic Museum in cooperation with the Palace related to the organisation of such a conference was on track when we were confronted Museum in Beijing. You can also visit and see the restoration project in the Slovene with the Covid outbreak. The conference was therefore initially postponed to 2021. In Ethnographic Museum. I hope you will enjoy the accompanying events and programme view of the further spread of the Covid virus and many restrictions on travel, meetings during the conference. and many other issues in the following two years, the EAAA Board, together with the lo-The conference is jointly organised by the EAAA, the Department of Asian Studies at cal organiser, decided to postpone the conference until 2023. To continue our activities the Faculty of Arts, University of Ljubljana and the Science and Research Centre Koper. and have the opportunity to discuss the latest research, we organised a series of online I would like to express my sincere gratitude to my colleagues in the organising team panel presentations from September to November 2021, where some of the papers ac-for their great work and support. Particular thanks are due to Helena Motoh from the cepted for the 2020 conference were presented, while a new call for papers was issued Science and Research Centre Koper, Maja Veselič and Marko Ogrizek from the Depart-for the 2023 conference. I’d like to take this opportunity to say ‘thank you’ once again ment of Asian Studies, Mojca Leskovec from the Centre for Pedagogical Education at to all colleagues who shared their research at this online event. the Faculty of Arts, and especially my assistant Tina Berdajs, whose work in organising Today we can finally meet in person to further discuss recent research in the field of the conference was indispensable in so many ways. She was the voice behind all the Asian art and archaeology. The programme offers a wide range of topics presented by correspondence and her help in preparing the programme and many other issues was 8 174 scholars from 25 countries in 51 panels. This clearly confirms that research into crucial. I would also like to thank our group of students who will ensure that everything 9 Asian art and archaeology is flourishing. As interest in the field increases, so will the runs more or less smoothly in the days to come. Finally, I would also like to thank all need for professional networking to promote this research through the exchange of those who have helped in preparing this conference and who have contributed - or will information across regional and disciplinary boundaries, and the need to create and contribute - to its success. maintain a multidisciplinary space for the fruitful exchange of ideas. I am delighted to The conference would certainly not have been possible without the generous support say that since the founding of the Association in 2013, 10 years ago – in fact, this year we of various foundations and other institutions. Therefore, on behalf of the European As-celebrate the 10th anniversary of the Association – the membership has grown rapidly sociation for Asian Art and Archaeology and the Department of Asian Studies, I would and today already numbers 350 members. In the ten years of its existence, the Associa-like to extend our sincerest gratitude to the Chiang Ching-kuo Foundation for Inter-tion has developed into the most important academic society for Asian art and archae-national Scholarly Exchange, the Faculty of Arts of the University of Ljubljana and the ology in Europe and beyond. Our main aim is to promote and support all academic and Slovenian Research and Innovation Agency. I’d also like to thank each of our speakers scholarly activities related to Asian art and archaeology. The EAAA is an international, for taking part in this conference. We are very privileged to have so many distinguished voluntary, independent, non-governmental and non-profit academic organisation rep-international scholars here, and the quality of presentations is outstanding. resenting professional art historians, archaeologists, researchers, students and all those interested in Asian art and archaeology from across Europe and beyond. With our rich and varied programme in mind, I wish you a successful and fruitful conference with interesting and stimulating discussions and exchange of knowledge. Archaeological and art objects are the most important part of human heritage. They are the treasure trove of the material and immaterial dimensions of human knowledge, collective memory and cultural identity. As a local organiser, I’d thus like to tell you briefly Dr Nataša Vampelj Suhadolnik about our recent research on East Asian collections in Slovenia. Since 2018, in the pro-EAAA President ject East Asian Collections in Slovenia, supported by the Slovenian Research Agency Local Organiser, 3rd EAAA Conference and led by the Department of Asian Studies at the Faculty of Arts University of Ljubljana, Department of Asian Studies, Faculty of Arts, University of Ljubljana we have systematically studied five major collections, and have created a searchable online database of East Asian objects in Slovenia. Further research is being conducted in two subsequent projects, one on orphaned East Asian objects and the other on the Skušek collection, the largest collection of mostly Chinese objects in Slovenia. We invite The Third Conference of the European Association for Asian Art and Archaeology Conference Programme Overview Thursday, 14 September 2023 (day 2) 08:30–17:00 Registration (Entrance hall, Faculty of Arts, University of Ljubljana) 8:30–10:00 Presentation of Skušek Collection and Restoration Project (Slovene Ethnographic Tuesday, 12 September 2023 Museum) 16:00–19:00 Registration (Entrance hall, Faculty of Arts, University of Ljubljana) 09:00–11:00 Lecture Room 15 Lecture Room 2 Lecture Room 4 Lecture Room 13 Panel 13 Panel 14 Panel 15 Panel 16 Wednesday, 13 September 2023 (day 1) CANCELLED Collecting and Viewing the Kabuki Intermedial Displaying Theatre Dialogues 08:00–18:00 Registration (Entrance hall, Faculty of Arts, University of Ljubljana) Buddhist Art in European Museums 09:30–10:00 OPENING/Welcome (Lecture room 15, Faculty of Arts, University of Ljubljana) before 1940 10:00–12:00 Lecture Room 15 Lecture Room 2 Lecture Room 4 Lecture Room 13 11:00–11:30 Coffee and Tea Break Panel 1 Panel 2 Panel 3 Panel 4 11:30–13:30 Panel 17 Panel 18 Panel 19 Panel 20 Ancient Chinese Material Culture, Representations Entanglements of Bronze Objects in Asian Art in the War and Unrest Painting and Crafts, Gold, Brass, Representation, and Visualizations Place, Identity, and Early Medieval East West: Collecting in Artistic Calligraphy in Bronze, Jade and Spaces of in Architecture the Environment in Asia Activities and Their Expressions Imperial China Elite Women of the the Visual Culture Influences Qing, 18th–20th of Early Modern Century East Asia 13:30–15:00 Lunch Break 12:00–13:30 Lunch Break 15:00–16:30 Panel 21 Panel 22 Panel 23 Panel 24 13:30–15:30 Panel 5 Panel 6 Panel 7 Panel 8 Inscriptions on Asian Art in the The Essence New Forms of Chinese Lacquer West: Exploring of a Nation? Calligraphy in Shang and Zhou The Challenges Where Advanced Fragments of Artefacts Provenance Korean Objects Contemporary 10 Bronze Objects of Studying and Technologies the Empire: in the Context China 11 in European Displaying East Meets Art: On The Afterlives of Diplomatic Collections (I): Asian Objects the History of of Japanese Relations and their Collections and Collections in Craftsmanship Imperialism in Symbolic Values Histories and Slovenia (I) Studies and Modern Times/ Exhibits as New Media Art Today 16:30–17:00 Coffee and Tea Break Historical Sources Creations Based on the Qing Court’s Artifacts (I) 17:00–18:00 Keynote Speech: Professor Emeritus Craig Clunas (Lecture room 15, Faculty of Arts, University of Ljubljana; Streaming: Lecture room 2) 15:30–16:00 Coffee and Tea Break 18:30–22:00 Welcome Reception with musical event: ‘Musicking’ (City Museum of Ljubljana) 16:00–17:30 Panel 9 Panel 10 Panel 11 Panel 12 Shang and Zhou The Challenges Where Advanced New Perspectives Bronze Objects of Studying and Technologies in Contemporary in European Displaying East Meets Art: On Asian Art (I) Collections (II): Asian Objects the History of Collections and the and Collections in Craftsmanship Study of Bronze Slovenia (II) Studies and Technology New Media Art Creations Based on the Qing Court’s Artifacts (II) 17:30–18:30 EAAA Monograph Series: Presentation of New Publications (Lecture room 15, Faculty of Arts, University of Ljubljana) 18:30 EAAA Board Meeting I (Lecture room 4, Faculty of Arts, University of Ljubljana) Optional Guided Tour of Ljubljana (1,5h) (Meeting point: in front of the Faculty of Arts, University of Ljubljana) The Third Conference of the European Association for Asian Art and Archaeology Friday, 15 September 2023 (day 3) Saturday, 16 September 2023 (day 4) 08:30–18:00 Registration (Entrance hall, Faculty of Arts, University of Ljubljana) 08:30–11:00 Registration (Entrance hall, Faculty of Arts, University of Ljubljana) 09:00–11:00 Lecture Room 15 Lecture Room 2 Lecture Room 4 Lecture Room 13 09:00–11:00 Lecture Room 15 Lecture Room 2 Lecture Room 4 Lecture Room 13 Panel 25 Panel 26 Panel 27 Panel 28 Panel 36 Panel 37 Panel 38 Panel 39 Object and East Asian Art Overlooked Image and Identity Animals and Museum Archive New Aspects of Alternative Insights Context: The in the Wake of Objects and through the Other Pictorial and Collection Ancient Japanese and Studies in Concept of the 1873 Vienna Technologies Eyes of Artists, Representations in Gaps: Researching Society Chinese Art Biography in World’s Fair: Connoisseurs and Early and Medieval “Against the Grain” Chinese Art and Collectors and Intellectuals East Asian Art Archaeology Collection Biographies in Central Europe 11:00–11:30 Coffee and Tea Break at the Late 19th and Early 20th 11:30–13:30 Panel 40 Panel 41 Panel 42 Panel 43 Centuries (I) Interconnectivity Receptions of Art: Dance - Intangible New Studies in 11:00–11:30 Coffee and Tea Break of Art, Society, and From Japan to Living Heritage Iconography and Politics in Early Europe and Back between Visual Imagery 11:30–13:30 Panel 29 Panel 30 Panel 31 Panel 32 China Materiality and Embodiment Archaeology East Asian Art The Object That Sense and of Central Asia: in the Wake of Isn’t Sensibility: 13:30–15:00 Lunch Break Discoveries and the 1873 Vienna Meaning and New Approaches World’s Fair: Aesthetics of 15:00–16:30 Panel 44 Panel 45 Panel 46 Panel 47 Collectors and Confucian Literati Collection Gardens Material Worlds: Transcultural Exporting Approach to Biographies in Life History of Object Influence: From the Early State Central Europe Objects in the Itineraries (I): Visualization to Formation in at the Late 19th Shaping of Social Plants Imitation (I) Japan from the and Early 20th Realities (I) Standpoint of Centuries (II) Mortuary Practices 12 (I) 13 13:30–15:00 Lunch Break 16:30–17:00 Coffee and Tea Break 15:00–16:30 Panel 33 Panel 34 Panel 35 17:00–18:30 Panel 48 Panel 49 Panel 50 Panel 51 New Perspectives East Asian Art Art and Street in Contemporary in the Wake of Politics in the Material Worlds: Transcultural Exporting Approach to Asian Art (II) the 1873 Vienna Global 1960s: Life History of Object Influence: From the Early State World’s Fair: Nakajima Yoshio Objects in the Itineraries (II): Visualization to Formation in Collectors and and the Global Shaping of Social Gardens Imitation (II) Japan from the Collection Avant-Garde Realities (II) Standpoint of Biographies in Mortuary Practices Central Europe (II) at the Late 19th and Early 20th Centuries (III) 18:30 Optional After Party (Restaurant & Brewery Stazione Parenzana) 16:30–17:00 Coffee and Tea Break 17:00–18:00 General Assembly (Lecture room 15, Faculty of Arts, University of Ljubljana) Sunday, 17 September 2023 (day 5) 18:00–18:30 Presentation of ACN-Europe (Lecture room 15, Faculty of Arts, University of Ljubljana) 08:00–19:00 OPTIONAL POST-CONFERENCE TOUR: EAST ASIAN OBJECTS IN SLOVENIA 18:30 EAAA Board Meeting II (Lecture room 4, Faculty of Arts, University of Ljubljana) Optional Guided Tour of Ljubljana (1,5h) (Meeting point: in front of the Faculty of Arts, University of Ljubljana) The Third Conference of the European Association for Asian Art and Archaeology Keynote Speaker Thursday, 14 September 2023, Professor Craig CLUNAS 17:00–18:00 Lecture room 15 Professor Emeritus (Lecture room 2 – streaming), of the History of Art, Faculty of Arts, University of Ljubljana, Aškerčeva 2, University of Oxford 1000 Ljubljana Keynote speech: The Invisible (Chinese) Flâneuse: Jin Zhang in London, Paris and Art History Jin Zhang (1884–1939) is often best remembered today as the sister of the painter and Republican cultural leader Jin Cheng (1878–1926), or as the mother of the art historian Wang Shixiang (1914–2009). But what happens if we try to tell a story which has this woman at its centre, instead of at its margins? Most unusually for an upper-class woman of the late Qing, she spent a significant portion of her youth in London and Paris, where she not only may well have studied at art school (as accounts of her life maintain) but was certainly exposed to the modern art of western Europe. As the wife of a Qing imperial diplomat, she hosted her brother’s trip to Paris in 1910–11, a trip he recorded in his diary along with his impressions of the new currents in art which he saw as making painting ‘more Chinese’. This talk will examine what it is possible to know about Jin Zhang herself, and the way in which her Eu-14 15 ropean sojourn acted upon the art she went on to produce in the 1920s and 1930s. It will reflect on how we can research the art of China now, and how such possibilities have changed over the course of the last forty years. Jin Zhang, ‚Goldfish‘, hanging scroll, ink and colours on paper, dated 1928, from Jin Zhang 金章, Hao liang zhi le ji 濠梁知乐集 (Beijing 1985) Photograph of Jin Zhang in her studio at Nanxun, 1906, from Chen Zhou 晨舟, Wang Shixiang 王世襄, Zhongguo wenbo mingjia huazhuan Craig CLUNAS held the chair of art history at Oxford from 2007 to 2018, the (Beijing 2002) first scholar of Asian art to do so. Much of his work concentrates on the Ming period (1368–1644), with additional interests in the art of 20th century and contemporary China. He previously worked as a curator at the Victoria and Albert Museum, and taught art history at the University of Sussex and the School of Oriental and African Studies, University of London. His most recent book, Chinese Painting and Its Audiences (2017), is based on his AW Mellon Lectures in the Fine Arts, delivered at the National Gallery of Art, Washington DC, in 2012. In 2022 he curated Freud and China at Freud Museum London. His next book, The Echo Chamber: Transnational Chinese Painting, 1897–1935 will be published in 2023 in a bilingual English/Chinese edition. He is currently working on a book about the Ming imperial family. The Third Conference of the European Association for Asian Art and Archaeology Conference Programme in Details Panel 4 Wed 10:00–12:00; Lecture room 13 Entanglements of Place, Identity, and the Environment in the Visual Culture of Early Modern East Asia Chair: Doreen MUELLER, Leiden University Producing Uji: From Poetic and Religious to Tea Production Site Wednesday, 13 September 2023 Shiori HIRAKI, SOAS, University of London Reconciling the Image of Mount Asama as Famous Place and Environmental Actant OPENING/Welcome in the Late Eighteenth Century Wed 9:30–10:00; Lecture room 15, Doreen MUELLER, Leiden University Faculty of Arts, University of Ljubljana Elephant Keepers: Visual Imagery of the Social Outcast Fan LIN, Leiden University Panel 1 Wed 10:00–12:00; Lecture room 15 Ancient Chinese Crafts, Gold, Brass, Bronze, Jade Panel 5 Wed 13:30–15:30; Lecture room 15 Chair and discussant: Jingnan DU, Shang and Zhou Bronze Objects in European Collections (I): Collections Histories Northwestern Polytechnic University, Xi’an and Exhibits as Historical Sources Shaanxi Xi’an Kunlun Company Late Sui Dynasty and Early Tang Dynasty Ceremonial Crown: Chair: Maria KHAYUTINA, Ludwig-Maximilians-University of Munich, Decoration Structure, Material and Technology and Alice Yu CHENG, Museum Rietberg, Zürich Junchang YANG, Northwestern Polytechnic University, Xi’an Discussant: Lothar VON FALKENHAUSEN, University of California, Los Angeles Observation of Uniform Wall Thickness of Ancient Chinese Bronzes Based on Solidification Shang and Zhou Bronzes Objects in the Collection of the Museum of Far Eastern Antiquities, Process Simulation National Museums of World Culture, Sweden Huan YANG, Northwestern Polytechnical University, Xi’an Michel LEE, Museum of Far Eastern Antiquities, Stockholm Chaine Operatoire in Chinese Jade Study Ancient Chinese Bronzes in the Museum Rietberg Collection: Examining Museum Objects Yadi WEN, Northwestern Polytechnical University, Xi’an from an Archaeological Perspective Alice Yu CHENG, Museum Rietberg, Zürich A New Method for the Restoration and Protection of Ancient Textile Artworks Henri Cernuschi Ancient Chinese Bronzes: An Epigraphical Perspective Jiaojiao LIU, Northwestern Polytechnical University, Xi’an Olivier VENTURE, École pratique des hautes études (EPHE), Paris Brass Products in the Coronet Excavated from an M2-numbered Sui-Tang-dynasty Tomb Situated The Deng xiao zhong ding 鄧小仲鼎 Bronze Tripod and Political Complexity in the Zhou’s in Kun Lun Company in Xi’an, Shaanxi “Southern Region” Jingnan DU, Northwestern Polytechnic University, Xi’an Maria KHAYUTINA, Ludwig-Maximilians-University of Munich 16 17 Panel 2 Panel 6 Wed 10:00–12:00; Lecture room 2 Wed 13:30–15:30; Lecture room 2 Material Culture, Representation, and Spaces The Challenges of Studying and Displaying East Asian Objects and Collections of Elite Women of the Qing, 18th–20th Century in Slovenia (I) Chair: Nixi CURA, University of Glasgow Chair: Maja VESELIČ, University of Ljubljana Discussant: Yu-chih LAI, Institute of Modern History, Academia Sinica, Taipei The Collection of Objects from Asia and South America in the Celje Regional Museum The Art of Ancestral Worship at Empress Xiaoshengxian’s Tomb at the Western Qing Necropolis and the Question of Their Provenance Ricarda BROSCH, Victoria & Albert Museum, London; The Courtauld Institute of Art, London Davor MLINARIČ, Celje Regional Museum Who is Buried in the Qianlong Emperor’s Tomb? East Asian Art from the Collections of Slovenian Mariners Nixi CURA, University of Glasgow Bogdana MARINAC, Maritime Museum “Sergej Mašera” Piran The Agencies of Imperial Women in 19th-century Porcelain Production In Search of the Artist: Two Mariners’ Oil Paintings from East Asia Nicole CHIANG, Hong Kong Palace Museum Chikako SHIGEMORI BUČAR, University of Ljubljana The Dalachi Grandeur: Developing the Great-Stretch-Wing Female Manchu headdress in Souvenir Photography from East Asia in Slovenian Collections Republican (1912–1949) China Maja VESELIČ, University of Ljubljana Yingbai FU, SOAS, University of London Panel 7 Panel 3 Wed 13:30–15:30; Lecture room 4 Wed 10:00–12:00; Lecture room 4 Where Advanced Technologies Meets Art: On the History of Craftsmanship Studies Representations and Visualizations in Architecture and New Media Art Creations Based on the Qing Court’s Artifacts (I) Chair: Patricia FRICK, Museum of Lacquer Art, Münster Chair: Chien-yu WANG, National Palace Museum, Taipei Maps of Inner Citadels During Song-Yuan-Ming Transition On the New Technologies Adopted by the Qing Palace Workshop as Shown by Its Muslim Goods Pania Yanjie MU, Heidelberg University Yu-wen WENG, National Palace Museum, Taipei On the Qing Court Artists’ Adoption and Internalization of European Technologies: Using Visualising the Capital: Visual Records of Seoul in the 1880s–1920s Imperial Copperplate War Engravings as an Example Jess Jiyun SON, SOAS, University of London Chien-yu WANG, National Palace Museum, Taipei Monumentality and Miniatures: City and Architecture in Mughal Muraqqa On the Review of Beiyang Fleet by Yixuan, Prince Chun and the Military Art Created for It Shatarupa THAKURTA ROY, Indian Institute of Technology Kanpur (IITK), Kalyanpur, Wei-chiang CHOU, Hong Kong Palace Museum Uttar Pradesh Progress with the Times: The National Palace Museum’s Display of New Media Art Innovation Chen-wo KUO, National Palace Museum, Taipei The Third Conference of the European Association for Asian Art and Archaeology Panel 8 Panel 12 Wed 13:30–15:30; Lecture room 13 Wed 16:00–17:30; Lecture room 13 Fragments of the Empire: The Afterlives of Japanese Imperialism New Perspectives in Contemporary Asian Art (I) in Modern Times/Today Chair: Mia Dora PRVAN , independent scholar, London Chair: Patricia LENZ, University of Zurich Discussant: Ayelet ZOHAR, Tel Aviv University Unintended Misunderstandings: A Case Study on the ‘Yugoslav Modern Art Exhibition’ in China in 1980–81 Defeating the Bear: The Legacy of Russo-Japanese War Imagery on Social Media Yini YANG, Freie Universität Berlin Rebeca GÓMEZ MORILLA, University of Zurich Performing (Postcolonial) History: Paper Tiger Studio and the Eighteenth-Century Handscroll Bauhaus for Transwar Japan – Shifts in Design Teaching Practice Based on Political Changes “Machang Lays Low the Enemy Ranks” Helena ČAPKOVÁ, Ritsumeikan University, Kyoto Andreea CHIRITA, University of Bucharest Destruction/Reconstruction: Traces of the Japanese Empire in the Royal Palaces of Seoul Alison J. MILLER, University of the South, Sewanee EAAA Monograph Series: Presentation of New Publications Exploring Japanese Imperialism and Memory from an Artist’s Viewpoint Wed 17:30–18:30; Lecture room 15, Faculty of Arts, University of Ljubljana Mio OKIDO, Independent artist, Berlin EAAA Board Meeting I Wed 18:30; Lecture room 4, Faculty of Arts, University of Ljubljana Panel 9 Optional: Wed 16:00–17:30; Lecture room 15 Guided Tour of Ljubljana (1,5h) Shang and Zhou Bronze Objects in European Collections (II): Wed 18:30; Meeting point: in front of the Faculty of Arts, University of Ljubljana Collections and the Study of Bronze Technology Chair: Maria KHAYUTINA, Ludwig-Maximilians-University of Munich, and Alice Yu CHENG, Museum Rietberg, Zürich Discussant: Lothar VON FALKENHAUSEN, University of California, Los Angeles Thursday, 14 September 2023 Introduction to the Bronze Collection of Early China at the British Museum: An Overview for Future Collaboration Presentation of Skušek Collection and Restoration Project Ruiliang LIU, British Museum Thu 8:30-10:00; Slovene Ethnographic Museum Changes of the Centralised Bronze Production during the Shang-Zhou Transition: Evidence from Archaeological Finds and Museum Collections Limin HUAN, Leibniz-Zentrum für Archäologie / Ludwig-Maximilians-University of Munich Keynote Speech Thu 17:00–18:00; Lecture room 15, Faculty of Arts, University of Ljubljana Where are All the Bronzes from: Re-contextualizing Shang Bronzes in European The Invisible (Chinese) Flâneuse: Jin Zhang in London, Paris and Art History Museum Collections Yung-Ti LI, University of Chicago Craig CLUNAS, University of Oxford 18 Chao-jung CHEN, Academia Sinica, Taipei 19 Welcome Reception with musical event: ‘Musicking’ Thu 18:30; City Museum of Ljubljana Panel 10 Musicking Wed 16:00–17:30; Lecture room 2 The Challenges of Studying and Displaying East Asian Objects Amused and bemused by the richness and variety of regional folksongs, a couple of vocal and Collections in Slovenia (II) cords summoned another couple of chordophones to join them in a mutual musical journey. Chair: Maja VESELIČ, University of Ljubljana Navigating through the regional musical traditional repertoire they will be sharing songs about sailors, seas, siblings, lovers, lands, losses, and revelations. Journey to the West: An Analysis of the Chinese Fan Group An Istrian collaboration of two associations: Muzofil (Slovenia) and TradinEtno (Croatia). Nataša VISOČNIK GERŽELJ, University of Ljubljana Interpreting Good Luck-symbols on Musical instruments: Decorative ornaments on the Heads of Pipas Klara HRVATIN, University of Ljubljana Panel 11 Wed 16:00–17:30; Lecture room 4 Where Advanced Technologies Meets Art: On the History of Craftsmanship Studies and New Media Art Creations Based on the Qing Court’s Artifacts (II) Chair: Chien-yu WANG, National Palace Museum, Taipei The Emperor’s Cultural Trips: A Survey of The Qianlong Emperor’s Southern Inspection Tours and Their Geographic Information System Applications Yu-yang HUANG, National Archives Administration, National Development Council, Taipei Taking a Virtual Trip to the Historic Sun Moon Lake Preserved in Records – Building a Transmedia Museum Experience Based on the Relevance Designing Framework Theory Yu-chun KAO, National Museum of History, Taipei Zhi-yan LIN, National Palace Museum, Taipei Prospecting Museums Towards Digital Humanities Using Information Visualization and Text Mining in Digital Archives Ting-sheng LAI, National Palace Museum, Taipei The Third Conference of the European Association for Asian Art and Archaeology Panel 13 Panel 18 Thu 09:00–11:00; Lecture room 15 Thu 11:30–13:30; Lecture room 2 CANCELLED Asian Art in the West: Collecting Activities and Their Influences Panel 14 Chair: Nixi CURA, University of Glasgow Thu 09:00–11:00; Lecture room 2 Bronze Gifts at the Buddhist Temple: The Bellot Collection of Chinese Bronzes Collecting and Displaying Buddhist Art in European Museums before 1940 at Manchester Museum Chair and discussant: Lyce JANKOWSKI, Royal Museum of Mariemont, Morlanwelz Jose CANTON-ALVAREZ, University of Lodz ‘In the Footsteps of the Buddha’ East Asian Buddhist Statues in Hungarian Collections Bringing the Far East to the US Southeast – Case Studies from the Birmingham Museum of Art, Györgyi FAJCSÁK, Ferenc Hopp Museum of Asiatic Arts, Budapest Alabama USA Katherine Anne PAUL, Birmingham Museum of Art, Alabama Collecting and Exhibiting Buddhist Art in Interwar Czechoslovakia Michaela PEJČOCHOVÁ, National Gallery, Prague A Russian Tea-Tzar’s Treasures: Konstantin Popov’s Collection of Far East Ceramics (1880s–1900s) The Meaning of a Gift: Four Buddha Heads in the Collection of Museum Volkenkunde Anna Alekseevna EGOROVA, State Museum of Oriental Arts, Moscow Karwin CHEUNG, Vrije Universiteit Amsterdam Capturing the ‘Undulation of the Dragon’: Developing Concepts of ‘Chinese Paintings’ Atherton Curtis and his Chinese Collection at the French National Library: in the Late Nineteenth Century through Two Collections at the British Museum and the Museum A Passion for Buddhist Arts? of Fine Arts Boston Rui ZHANG, Institut français de recherche sur l‘Asie de l‘Est (IFRAE), Paris Yitao QIAN, SOAS, University of London Panel 15 Panel 19 Thu 09:00–11:00; Lecture room 4 Thu 11:30–13:30; Lecture room 4 Viewing the Kabuki Theatre War and Unrest in Artistic Expressions Chair: Klara HRVATIN, University of Ljubljana Chair: Beatrix MECSI, Eötvös Loránd University (ELTE), Budapest Art on Stage: Shift in Kabuki Costumes from Craft to Art Japanese War Paintings, Intra-Empire Travels, and ‘Grassroots Fascism’: Annegret BERGMANN, University of Tokyo Okada Kenzo¯ and Kawabata Minoru during the Second World War Actor Prints: Exploring Gender Representation in Kabuki Theatre Kimihiko NAKAMURA 公彦中村, Heidelberg University Galia PETKOVA, Eikei University of Hiroshima Visualizing Counter-Enlightenment in Early Meiji Japan Amin GHADIMI, Osaka University Panel 16 Image Source and Production Intention of the Painting of the Taiwan Campaign in the Wucheng Thu 09:00–11:00; Lecture room 13 Hall during the Qianlong Period Jingyuan ZHANG 晶元张, Central Academy of Fine Arts, Beijing 20 Intermedial Dialogues 21 Chairs: Julie NELSON DAVIS, University of Pennsylvania, In Search of Scenic Beauties in Southwest China: Tourism and Representations of Landscape and Gennifer WEISENFELD, Duke University, Durham during the Sino-Japanese War (1937-1945) Pedith Pui CHAN, The Chinese University of Hong Kong Replica and Model: The Brush in the Printed Book Julie NELSON DAVIS, University of Pennsylvania Under the Autumn Leaves: Dancing with Politics in Medieval Genji Illustrations Panel 20 Trevor MENDERS, Harvard University Thu 11:30–13:30; Lecture room 13 Painting and Calligraphy in Imperial China Saito¯ Kazo¯’s Rhythmic World in the Sonic Landscape of Modern Japan Gennifer WEISENFELD, Duke University, Durham Chair: Minna TÖRMÄ, University of Glasgow Cinematography of Writing: Films by Japanese Avant-Garde Calligraphers A Case of Mistaken Identity: An Ink Chrysanthemums Painting Attributed to Xiang Shengmo Eugenia BOGDANOVA-KUMMER, University of East Anglia, Norwich (1597–1658) and Its Historical Significance Alice BIANCHI, Université de Paris Cité A Study on the Formation of Orchid Theme during the Northern Song China (960–1127) Panel 17 Qian ZHAN, Free University of Berlin Thu 11:30–13:30; Lecture room 15 Bronze Objects in Early Medieval East Asia Affirmation of Dominion: The Hongwu Emperor’s Imperial Portrait in the Context of Post-Mongol China Chair: Margarete M. PRÜCH, CATS, Heidelberg University Hui FANG, Institute of Fine Arts, New York University Grave Goods in Times of Social Turmoil Understandings of Style: Early Medieval Calligraphy in Later Chinese History Melanie JANSSEN-KIM, Independent scholar, Wilhelmshaven Erjia LI, University of Glasgow Gilt Bronze Belt Fittings of the Middle Kofun Period in Japan Yasutaka FUJII, National Saga University Panel 21 Bronze or Iron? Mirrors in Six Dynasties Tombs Thu 15:00–16:30; Lecture room 15 Annette KIESER, University of Münster Inscriptions on Chinese Lacquer Artefacts Casting Methods of Official Seals in the Northern and Southern Dynasties Chair: Annette KIESER, University of Münster Yukinobu ABE 幸信 阿部, Chuo University, Tokyo Inscriptions on Song Dynasty (960–1279) Lacquerware Copper-based Objects during the Northern Dynasties (4th–6th Centuries): A General Survey Patricia FRICK, Museum of Lacquer Art , Münster Shing MÜLLER, Ludwig-Maximilians-University of Munich Imperial – Local – Private: Rethinking the Production of Lacquer Ware during the Han-Dynasty as Seen through Inscriptions Margarete PRÜCH, CATS, Heidelberg University The Third Conference of the European Association for Asian Art and Archaeology Poetic Inscriptions and Afterlives of Ming Lacquerware at the Qing Qianlong Court Panel 26 Zhenpeng ZHAN, Sun Yat-sen University, Guangzhou Fri 09:00–11:00; Lecture room 2 East Asian Art in the Wake of the 1873 Vienna World’s Fair: Collectors and Collection Biographies in Central Europe at the Late 19th and Early 20th Centuries Panel 22 (I) Thu 15:00–16:30; Lecture room 2 Chair: Lukas NICKEL, University of Vienna, and Nataša VAMPELJ SUHADOLNIK, Asian Art in the West: Exploring Provenance University of Ljubljana Chair: Helena MOTOH, Science and Research Centre Koper The China Galleries at the Vienna World’s Fair Tracing the History of Collecting Goryeo Buddhist Paintings in Europe Lukas NICKEL, University of Vienna Sukyung CHOI, Korean Cultural Center Washington, D. C. Japan’s Policy Following the Austrian-Hungarian Guidelines for the Vienna World’s Fair in 1873 Tracing Networks, Unveiling Provenance: The Gregorios Manos Collection of East Asian Objects Bettina ZORN, Weltmuseum Wien Maria METOIKIDOU, University of Glasgow How the World Came Together: The Importance of Social Contacts during the Vienna World’s Fair Challenges in Researching and Exhibiting the Asian Art Collection of the Latvian National Agnes SCHWANZER, Weltmuseum Wien / University of Vienna Museum of Art Teacups from Japan: Japanese Ceramics, Vienna World’s Fair and Viennese Collecting Kristı¯ne MILERE, Latvian National Museum of Art Mio WAKITA, MAK – Museum for Applied Arts, Vienna Panel 23 Panel 27 Thu 15:00–16:30; Lecture room 4 Fri 09:00–11:00; Lecture room 4 The Essence of a Nation? Korean Objects Overlooked Objects and Technologies in the Context of Diplomatic Relations and their Symbolic Values Chair: Sarah NG, Hong Kong University Museum and Art Gallery Investigation on the History of Canton Transparent Enamel in Qing Dynasty Chair: Beatrix MECSI, Eötvös Loránd University (ELTE), Budapest Fuxiang GUO, Palace Museum in Beijing Goguryeo Tomb Murals and Their Way to Europe: Their Meanings and Contexts Intertwining Asian cultures: Basketry from the Dryad Collection at Leicester Museum Beatrix MECSI, Eötvös Loránd University (ELTE), Budapest and Art Gallery Marginal but Close Enough: Korean National Treasure Replicas as Diplomatic Gifts Maria Chiara SCUDERI, University of Leicester Elmer VELDKAMP, Leiden University Untangling the Knot: A Reconstruction of a Traditional Chinese Wooden Joint Max FRÜHWIRT, Institute of Architecture and Media, Graz University of Technology Panel 24 Displaying Identity in Late Imperial China: Qing Dynasty Hat Stands at the Victoria and Albert Thu 15:00–16:30; Lecture room 13 Museum (V&A) New Forms of Calligraphy in Contemporary China Helen GLAISTER, Victoria & Albert Museum, London Chair: Adriana IEZZI, University of Bologna 22 23 New Forms of Calligraphy in China from “Abstract” Painting to Graffiti Art Panel 28 Adriana IEZZI, Alma Mater Studiorum – University of Bologna Fri 09:00–11:00; Lecture room 13 Image and Identity through the Eyes of Artists, Connoisseurs and Intellectuals Calligraphy and Performance Art in Contemporary China Chair: Michel LEE, Museum of Far Eastern Antiquities, Stockholm Martina MERENDA, Alma Mater Studiorum – University of Bologna Construction of Artists’ Image and the Expectations of Eras in Traditional China The New Era of Chinese Graffiti: Bombing, Calligraphy and Emotional Expressions Yuqing SUN, Charles University, Prague along the Streets Marta R. BISCEGLIA, Alma Mater Studiorum – University of Bologna Painting of Visiting Stele and Collecting Bronzes in Late 18th-Century China: Archaeological Report and Personal Memoir in One Jennifer C. C. CHANG, SOAS, University of London Story of the Stone and its Replications in Modern China Friday, 15 September 2023 Jiayao WANG, Augusta University Panel 29 Panel 25 Fri 11:30–13:30; Lecture room 15 Fri 09:00–11:00; Lecture room 15 Archaeology of Central Asia: Discoveries and New Approaches Object and Context: The Concept of Biography in Chinese Art and Archaeology Chair: Maria KHAYUTINA, Ludwig-Maximilians-University of Munich Chair and discussant: Jeehee HONG, McGill University, Montreal Pottery of the Kulai Culture in Early Iron Age (Western Siberia) Not Just Hairpins: Contextualizing the Gold Louge Hairpins from the Ming Princely Tomb in Jiangxi Dmitriy SELIN, Institute of Archaeology and Ethnography Siberian Branch Mo D. ZHANG, University of Pennsylvania of the Russian Academy of Sciences, Novosibirsk Messages Hidden in Grand Narratives – Reconsidering the Tomb of Ruru Princess Spatial Dynamics of Urbanization at the Onset of the First Turk Empire and the Mid-6th Century Annie CHAN, Ludwig-Maximilians-University of Munich Jingyi ZHOU, New York University Same Site – Different Viewpoints: Understanding the Archaeological Landscape of the 10–12th Buildings Beyond Biography: Temporalities of Buddhist Pagodas in Eleventh Century China Century Khitan Period Settlement of Khar Bukh Balgas in Bulgan County, Mongolia Bryce HEATHERLY, University of Pennsylvania Katalin TOLNAI, Independent scholar, Budapest András HARMATH, CEO – Tahimeter Ltd, Nógrádsáp The Apotropaic Power of Antiqueness: Bronze Mirrors from the Lu Family Tomb in Ming Zsolt SZILÁGYI, Research Center for the Humanities,Institute of Ethnology, Budapest Shanghai (1500s–1620s) Jinyi LIU, New York University Naks∙atras in Central Asia: Analysis of the Archeological Finds from the Qigexing Temple in Ritual Context Lu TIAN, Freie Universität Berlin The Third Conference of the European Association for Asian Art and Archaeology Panel 30 Panel 34 Fri 11:30–13:30; Lecture room 2 Fri 15:00–16:30; Lecture room 2 East Asian Art in the Wake of the 1873 Vienna World’s Fair: Collectors and East Asian Art in the Wake of the 1873 Vienna World’s Fair: Collectors and Collection Biographies in Central Europe at the Late 19th and Early 20th Centuries Collection Biographies in Central Europe at the Late 19th and Early 20th Centuries (II) (III) Chair: Lukas NICKEL, University of Vienna, and Nataša VAMPELJ SUHADOLNIK, Chair: Lukas NICKEL, University of Vienna, University of Ljubljana and Nataša VAMPELJ SUHADOLNIK, University of Ljubljana Our Man in Shanghai: Josef Haas and the Role of 19th Century Austro-Hungarian The Impact of the Vienna World’s Fair on the Carniolan Elite’s Collecting Practices Representatives in China as Movers and Shakers of Collecting Networks of East Asian Objects Alexandra NACHESCU, University of Vienna Tina BERDAJS, University of Ljubljana The East Asian Heritage and Collecting Activities of Eleonora von Haas Missionaries as Museum Suppliers: The Relationship Between P. B. Turk and the Rudolfinum Barbara TRNOVEC, Celje Regional Museum Museum in Ljubljana Nataša VAMPELJ SUHADOLNIK, University of Ljubljana Helena MOTOH, Science and Research Centre Koper The Influence of World Exhibitions and the Opening of New Sea Routes on the Formation of Collections of Japanese and Chinese Art and Ethnographic Material in Bohemia and Moravia in Panel 35 the Late 19th Century Fri 15:00–16:30; Lecture room 4 Filip SUCHOMEL, Regional Gallery in Liberec Art and Street Politics in the Global 1960s: Nakajima Yoshio and the Global Avant-Garde Panel 31 Chair: William MAROTTI, University of California, Los Angeles Fri 11:30–13:30; Lecture room 4 When Art Grabs You: Grasping Art and Politics in the Global 1960s with Nakajima Yoshio The Object That Isn’t William MAROTTI, University of California, Los Angeles Chair and discussant: Lei XUE, Oregon State University DAM ACT: Yoshio Nakajima in Japan 1957–1964 Pursuing the “True Image”: Photography and the Antiquarian Objects in Late Qing and Early Yoshiko SHIMADA, Independent artist and scholar / University of Tokyo Republican China Yoshio Nakajima: A Japanese Artist from Sweden Tingting XU, University of Rochester Tania ØRUM, University of Copenhagen Chen Mengjia: Negotiating the Tension between Written and Material Cultures Guangchen CHEN, Emory University, Atlanta General Assembly Fake Plunder: The Case of Liao-Dynasty Gold and Silver Fri 17:00–18:00; Lecture room 15, Faculty of Arts, University of Ljubljana François LOUIS, Bard Graduate Center, New York Presentation of ACN-Europe The Inscribed Surface: Kuancai Lacquer Screens and Qing Local Officials Fri 18:00–18:30; Lecture room 15, Faculty of Arts, University of Ljubljana Lianming WANG, City University of Hong Kong 24 EAAA Board Meeting II 25 Fri 18:30; Lecture room 4, Faculty of Arts, University of Ljubljana Panel 32 Optional: Guided Tour of Ljubljana (1,5h) Fri 11:30–13:30; Lecture room 13 Fri 18:30; Meeting point: in front of the Faculty of Arts, University of Ljubljana Sense and Sensibility: Meaning and Aesthetics of Confucian Literati Gardens Chair: Jongsang SUNG, Seoul National University Discussant: Shanshan LIU, Beijing University of Civil Engineering and Architecture Communion with the Deities: Medicinal Plants Landscaping in Chinese Royal Garden Saturday, 16 September 2023 Shanshan LIU, Beijing University of Civil Engineering and Architecture Sense and Sensibility in the Chinese Literati Garden in the 17th Century: A Case Study Panel 36 of Zhi Garden in Jiang’nan Region Sat 09:00–11:00; Lecture room 15 Xiao HUANG, Beijing Forestry University Animals and Other Pictorial Representations in Early and Medieval East Asian Art Aesthetics of Tea Space in Literati Paintings in Ming and Qing Dynasties Chair: Annette Kieser, University of Münster Lin ZHANG, Beijing University of Civil Engineering and Architecture Navigating through Kofun Imagery: An Analysis of the Boat Depictions Found in Decorated Qiuye JIN, Beijing University of Civil Engineering and Architecture Tombs in Northern Kyu¯shu¯ Garden as a Stage for Spatial Politics: King Jeongjo’s Approach and Use of the Back Garden Claudia ZANCAN, Ca’ Foscari University of Venice / Heidelberg University of Changdeok Palace New Insights of Koguryo˘ Funerary Art from Three Recently Discovered Painted Tombs in North Jongsang SUNG, Seoul National University Korea Ariane PERRIN, Ca’ Foscari University of Venice Panel 33 Depictions of Raptors and Falconry on Liao and Jin Clothing and Ornaments Fri 15:00–16:30; Lecture room 15 Leslie V. WALLACE, Coastal Carolina University New Perspectives in Contemporary Asian Art (II) From Mighty Protectors to Humble Architectural Elements: The Transformation of Bears on Chair: Mia Dora PRVAN , independent scholar, London Hunping (“Spirit Jars”) Michelangelo Pistoletto’s “Buddha”: On Mirror Images and Contemporary Buddhist Art Keith N. KNAPP, The Citadel, the Military College of South Carolina Paramita PAUL, Leiden University Back to Local: Tibetan Contemporary Art and Photography à la mode Chang LIU, Ecole Pratique des Hautes Etudes – Paris Sciences & Lettres Superflat & The Cartoon Generation within Global Anime-pop Hui WANG, Heidelberg University The Third Conference of the European Association for Asian Art and Archaeology Panel 37 Panel 41 Sat 09:00–11:00; Lecture room 2 Sat 11:30–13:30; Lecture room 2 Museum Archive and Collection Gaps: Researching “Against the Grain” Receptions of Art: From Japan to Europe and Back Chair and discussant: Kyunghee PYUN, Fashion Institute of Technology, New York Chair: Hans Bjarne THOMSEN, University of Zurich Invisible Nodes in the Museum Meshwork: Tracing the Contributions of South Korean Donors Public Lectures about Japanese Art in Late Victorian and Edwardian Britain, 1963–1915 to the Victoria and Albert Museum’s Korean Collection (1983–1993) Massimiliano PAPINI, Independent scholar, Florence Zara ARSHAD, University of Brighton / Victoria and Albert Museum, London Expedition, Collection, and the Curation of “World Art” in Japan around 1970: “Art” vs. “Craft” vs. “Ethnography”: Re-thinking Korean Objects through the Collection From Expo 70´ to National Museum of Ethnology of the Museum für Kunst und Gewerbe Hamburg, Germany Ruri KAWANAMI, Free University of Berlin / Humboldt-University of Berlin Lina Shinhwa KOO, University of Brighton Decolonising Museum Practice in South Korea: the “Modern” Collection of the National Panel 42 Museum of Korea Sat 11:30–13:30; Lecture room 4 Yaerim HYUN, National Museum of Korea, Seoul Dance – Intangible Living Heritage between Materiality and Embodiment Expanding Design History Narratives: South Korean Factory-made Industrial Ceramics Chair and discussant: Waheeda BANO, University of Sindh, Jamshoro in the Victoria and Albert Museum’s Korean Collection Dasom SUNG, Victoria and Albert Museum, London The Stage – A Canvas: New Insights into the Interaction between Dance and Visual Arts in South India Sandra Jasmin SCHLAGE, University of Bonn Panel 38 Art and Architecture: An intrinsic Sacral – Space – Body Relationship Sat 09:00–11:00; Lecture room 4 New Aspects of Ancient Japanese Society Rajyashree RAMESH, Global Music Academy Berlin The Evolution of Indian Dance in Inter-relation with History and Archeological Sources Chair: Mark HUDSON , Max Planck Institute of Geoanthropology, Jena Choodamani NANDAGOPAL, Jain University, Bangalore The Sea at the Dawn of Jo¯mon Culture: IRIAE’s Archaeological Excavations on Tsushima Island Frozen Movements – Dazzling Emotions: South Asian Dancers in German Photography Daniele PETRELLA, International Research Institute for Archaeology and Ethnology, Naples 1920–1938 Burning Questions: The Ogata Archaeological Site and Kofun Period Ironworking Isabella SCHWADERER, Universität Erfurt J. Scott LYONS, Kyushu University De-Escalation Strategies and Identity in Kofun Period Japan Panel 43 Britta STEIN, Martin-Luther-University Halle-Wittenberg Sat 11:30–13:30; Lecture room 13 Anthropomorphic Haniwa on Display Outside Asia: The Case of the British Museum New Studies in Iconography and Visual Imagery and the Musée Guimet Chair: Nataša VISOČNIK GERŽELJ, University of Ljubljana Elisabetta COLLA, Lisbon University 26 Merging the Demonic and the Divine: Screen Painting “Netherworld on the Sea” 27 (Haesangmyeongbu-do) in the National Folk Museum of Korea Panel 39 Jihyeong LEE, Freie Universität Berlin Sat 09:00–11:00; Lecture room 13 Alternative Insights and Studies in Chinese Art Outside-in and Inside-out: Reconsidering the Representation of Foreigners in the Art of the Tang China Chair: Maja VESELIČ, University of Ljubljana Kyoko NOMOTO, University of Oxford Colour ‘qing’ 青 in Ancient China: Language, Materiality and Cosmological Thought Conformity and Creativity in Expressive Animals Figures from Bumiayu Temple Complex Liting YANG, École Normale Supérieure, Paris in Sumatra, Indonesia Nainunis Aulia IZZA, Universitas Jambi / Leiden University Curating the Astral as Embodying the Futural: A Constellation Map and a Full Moon in the Fourth Leaf in Min Qiji’s Woodblock Print for the Romance of the Western Chamber Tiantian CAI 田田蔡, University of Wisconsin-Madison Panel 44 Popularizing Faith and Distributing Beauty: The Challenging Early Modern Popularization Sat 15:00–16:30; Lecture room 15 of Catholic Art in China and the Philippines Material Worlds: Life History of Objects in the Shaping of Social Realities (I) Antonio DE CARO, University of Zurich Chair: Chin-Yin TSENG, Dunhuang Academy Discussants: Xuan CHEN, Peking University Ruiliang LIU, British Museum Panel 40 Sat 11:30–13:30; Lecture room 15 Why Bother? Changes in the Yangtze Region Bronze Art and Metallurgy Interconnectivity of Art, Society, and Politics in Early China Kent CAO, Duke Kunshan University / Duke University,Durham Chair: Keith N. KNAPP, The Citadel, the Military College of South Carolina Achaemenid-style Silverwares: A Taste for Luxury in Early Imperial China Yan LIU, Northwestern Polytechnical University Transformation of the Burial System in the Middle Yellow River Region during the 2nd Millennium BCE as a Reflection of Changing Political Strategies Jakub MARŠÁLEK , Charles University, Prague Panel 45 The Concept and Society of the Fenghuangzui Prehistoric City Sat 15:00–16:30; Lecture room 2 Xiyun YU, Wuhan University Transcultural Object Itineraries (I): Plants Different Spheres of Jade Production and Consumption of the Liangzhu Culture Chair: Minna TÖRMÄ, University of Glasgow Tansis Darien GARCIA RUBIO DE YCAZA, Shandong University From Fossil to National Symbol: The Transcultural Lives of the Metasequoia Hans Bjarne THOMSEN, University of Zurich On Rhubarb: The Transition of the Rhubarb Plant from Asian Exotic to Allotment Staple Anne GERRITSEN, University of Leiden / University of Warwick, Coventry The Third Conference of the European Association for Asian Art and Archaeology Breadfruit Itineraries Panel 50 Sarah EASTERBY-SMITH, University of St Andrews Sat 17:00–18:30; Lecture room 4 Exporting Influence: From Visualization to Imitation (II) Panel 46 Chair: Katherine Anne PAUL, Birmingham Museum of Art Sat 15:00–16:30; Lecture room 4 From Walcheren Island to Normandy Region: Eighteenth Century Maritime Art in Western Exporting Influence: From Visualization to Imitation (I) European Coastal Cities Chair: Katherine Anne PAUL, Birmingham Museum of Art Yi-Chieh (Mireille) SHIH, Leiden University Chinese Painted Silks – Fashioning the West A Global History of “Kimonos” and their Inspired Products Helen PERSSON SWAIN, University of Glasgow Keiko SUZUKI, Ritsumeikan University, Kyoto Delftware with Chinese-style-influenced Patterns from the Lobkowicz Collection Tzuhan CHIU, Charles University, Prague Panel 51 Sat 17:00–18:30; Lecture room 13 The Metamorphosis of Asian Lacquer Screen: A Study of “East Asian Cabinets” Approach to the Early State Formation in Japan from the Standpoint of Mortuary in the Schönbrunn Palace and Lacquer Cabinets Fashion in Europe Practices (II) Xialing LIU 夏凌 刘, Central Academy of Fine Arts, Beijing Chair: Ken’ichi SASAKI, Meiji University, Tokyo Royal Succession and Elite Kinship Structure of Kofun Period Japan Panel 47 Sat 15:00–16:30; Lecture room 13 Akira SEIKE, Okayama University Approach to the Early State Formation in Japan from the Standpoint of Mortuary Rituals to Increase the “Mutual Trust” among Elites to Maintain Trade System during the Kofun Practices (I) Period of Protohistoric Japan Chair: Ken’ichi SASAKI, Meiji University, Tokyo Yutaka TANAKA, Ibaraki University Diversity of the Mounded Tombs of the Kofun Period and its Significance Mound Building in an Eastern Peripheral Region of Japan Shin’ya FUKUNAGA, Osaka University Ken’ichi SASAKI, Meiji University, Tokyo Evolution of Material Culture from Practical to Symbolic: Diversification of the Morphologies of Arrowheads at the Beginning of the Kofun Period Optional After Party Takehiko MATSUGI, National Museum of Japanese History,Sakura Sat 18:30; Restaurant & Brewery Stazione Parenzana Background to the Appearance of Mounded Tombs in Peripheral Regions of Japan in the Middle Third Century Yoshio KIKUCHI, Fukushima University 28 Panel 48 29 Sat 17:00–18:30; Lecture room 15 Material Worlds: Life History of Objects in the Shaping of Social Realities (II) Chair: Yan LIU , Northwestern Polytechnical University Discussant: Ruiliang LIU, British Museum Real Imaginary Creatures: Depictions of the Rhinoceros in Japan Mai YAMAGUCHI, Minneapolis Institute of Art Craftsmanship vs. Originality in Chinese Rubbing Collection of the Ming (1368–1644) Sarah NG, Hong Kong University Museum and Art Gallery (UMAG) Post-discovery Life History of the Edsin Gol Han Dynasty Wooden Slips Chin-Yin TSENG, Dunhuang Academy Panel 49 Sat 17:00–18:30; Lecture room 2 Transcultural Object Itineraries (II): Gardens Chair: Hans Bjarne THOMSEN, University of Zurich Discussant: Stephen MCDOWALL, University of Edinburgh Questioning ‘Japaneseness’ in the Broughton House Garden Minna TÖRMÄ, University of Glasgow The Natural and the Imperial: Collecting and Display in Alexander Pope’s Grotto as a Mine Yue ZHUANG, University of Exeter Curated Asian Gardens in Sweden – Expressions of Material Culture and Cultural Encounters Catharina NOLIN, Stockholm University The Third Conference of the European Association for Asian Art and Archaeology Abstracts 30 31 The Third Conference of the European Association for Asian Art and Archaeology Wednesday, 13 September 2023 (day 1) 32 33 The Third Conference of the European Association for Asian Art and Archaeology Panel 1 Wed 10:00–12:00 and protection of ancient coloured paintings and silk banner Lecture room 15 archives or early ramie textiles. Ancient Chinese Crafts, These studies have shown the outstanding sophistication of Gold, Brass, Bronze, Jade ancient Chinese technology from various angles. Ancient manufacturing technologies have a much more complex social and Chair and discussant: Jingnan DU, Northwestern Polytechnic University, Xi’an cultural background than is commonly assumed. (dujingnan@nwpu.edu.cn) The main content of this panel is the study of ancient Chinese Shaanxi Xi ‘an Kunlun Company Late Sui Dynasty crafts. The five papers presented at this panel cover a wide and Early Tang Dynasty Ceremonial Crown: Decoration Structure, Material and Technology range of ancient Chinese objects such as bronzeware, brassware, textile and jade. Based on conclusions of traditional ar-Junchang YANG, Northwestern Polytechnic University, Xi’an (yangjunchang@nwpu.edu.cn) chaeological research, combined with modern material test-ing and analysis methods, these studies have solved some of Two tombs were discovered in Xi ‘an Kunlun Industrial (Group) Co., eastern suburb of Xi ‘an, Shaanxi Province when work was done on the foundation the earlier problems in traditional archaeology, which are as and piles were driven. These dated back to the late Sui Dynasty and early follows: Tang Dynasty. A set of ceremonial female crowns was discovered in the tomb numbered M2. The material of these ritual crowns is investigated in this pa-Yang Junchang’s paper uses a variety of material analysis tech-per, based on modern detection and analysis techniques, using microscopic niques to perform a detailed investigation on a piece of com-observation, X-ray imaging techniques, X-ray fluorescence analysis, scanning posite material crown. The fragments of the ceremonial crown with electron microscope energy spectrum analysis, etc. are extremely valuable, and there are only a dozen in China. Testing results indicate that the M2 ritual crown decoration materials include Such a study is hard-won because it reveals the highest degree copper, gold, glass, jade, mother-of-pearl, pearls, textiles, and wood (to men-34 of craftsmanship in the Sui and Tang dynasties as well as their tion eight), and accessories were processed in more than ten ways, involving 35 specific processes and technical priorities. Yang Huan’s work the following steps: Dye, pinched wire, filaments, aluminothermic welding, presents a new method of studying the solidification of bronze-gilding, mosaic, engraving, cutting, sawing, grinding, or polishing, and so on. ware by using simulation software. It argues that Uniform Wall It provides basic scientific information for the study of archaeology, art history, Thickness played a great role in ancient Chinese bronze tech-science and technology, handicraft history, and conservation and restoration in the Sui and Tang Dynasties. nology. Before that, scholars did not realise that equal wall thickness was actually a sophisticated casting technology setting. Wen Yadi’s paper looks into the Chaine Operatoire in Chi-Observation of Uniform Wall Thickness of Ancient Chinese nese jade, examining the full life history of the jades. Further, Bronzes Based on Solidification Process Simulation it will show the social and cognitive dimensions of the jade Huan YANG, users. Before the Ming Dynasty, there were few records of the Northwestern Polytechnical University, Xi’an (yanghuan2019@nwpu.edu.cn) production of brass products and the collection of raw mate-The design of uniform wall thickness was widely noticed on ancient Chinese rials. Du Jingnan’s research will focus on the material research bronzes. Bronze vessels dating back to the late Erlitou Culture period dis-of brass products in the Tang Dynasty, which will help people play uniform wall thickness, for example. Based on an overview of previous understand how brassware in the Tang dynasty was made and research on uniform wall thickness, this paper introduces ProCAST, a solidifi-used, and discusses the social significance of brass in this peri-cation simulation software to accurately simulate the design of uniform wall od. Liu Jiaojiao’s paper describes her investigation into the dis-thickness of a bronze ding-tripod, in the hope of calculating and comparing eases of ancient silk cultural relics, and development of a new the differences between the design of uniform wall thickness and those of non-uniform wall thickness in the solidification process. In our findings, the method of repairing and reinforcing fragile and rotten ancient ding-tripod’s uniform wall thickness construction has been shown to shorten textile works of art using fibres with the same compatibility. the solidification time by up to 52% and eliminate casting defects to a great This method has been successfully applied in the restoration extent. The application of uniform wall thickness reduces the casting defects The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) and improves the success rate of casting on the macro level, and it optimises strengths were greatly improved after reinforcement. The backing skeleton the structure and improves the mechanical properties of cast bronzes, which of hemp mesh and silk mesh is used for fine repair of defects and fractures, we propose is one of the most important bronze casting principles in Bronze thus reproducing the original appearance of the textile artworks and meeting Age China. the exhibition and utilisation requirements of the collection institutions. This study provides an effective reference for the protection technology of fragile ancient textile artworks. Chaine Operatoire in Chinese Jade Study Yadi WEN, Northwestern Polytechnical University, Xi’an (yadiwen1989@outlook.com) Brass Products in the Coronet Excavated from an M2-numbered Sui-Tang-Dynasty Tomb Situated Since Wu Da-zheng’s Catalogue of Ancient Jades (Gu yu tu kao) in the Qing in Kun Lun Company in Xi’an, Shaanxi Period, research on Chinese jades has largely focused on analyses of their social and ritual significances. In the latter half of the 20th century, excavations Jingnan DU, Northwestern Polytechnic University, Xi’an (dujingnan@nwpu.edu.cn) in the Liangzhu, Hongshan, and Xinglongwa culture sites uncovered many prehistoric jades. These important discoveries gradually shifted ancient jade Ancient Chinese brass smelting technology promoted the invention of zinc studies to an archaeological approach, focusing on the settlement and burial smelting, thus becoming an important part of metallurgical history. However, contexts of the jades. the information concerning its origin and development is still controversial. In that regard, thorough analysis of the composition and structure of early brass The use of the Chaîne Opératoire (French for “operational sequence”) methis crucial for studying various stages of the history of ancient brass smelting od in lithic studies has provided us with a new research perspective and direc-technology. This study aimed to investigate brass artifacts from the Kunlun M2 tion in the study of jades. This method pays attention to the full life history of tomb in Xi’an, Shaanxi, dating back through the Sui to the early Tang Dynasty the jades, from production to consumption and abandonment, which is treat- (581–712 AD). The composition and metallographic characterisation of the ed as a dynamic and continuous process. Furthermore, it allows us to analyse materials was performed using XRF, SEM–EDS and metallographic analysis. the social and cognitive dimensions of the jade users through comparisons of According to the results, brass was composed of 83 % copper, 12 % zinc, and 3 the jades’ production technologies and use wear. % tin. Furthermore, its microstructure consisted of α-isometric single crystals This paper applies the chaîne opératoire method to the study of jades by ana-with some slip lines and a few twinned grains. This indicated that brass was 36 obtained by melting an appropriate mixture of zinc ores and copper ores at 37 lysing related settlements and lapidary workshops, especially the latter. a temperature above 920 °C. Furthermore, brass support components were installed on the coronet after integral hot forging and partial cold shaping. A New Method for the Restoration In addition, the use of brass in the coronet was in conformity with the social and Protection of Ancient Textile Artworks hierarchy of that historical period, and also reflected the attention paid to the properties of materials. Jiaojiao LIU, Northwestern Polytechnical University, Xi’an (liujiaojiao@nwpu.edu.cn) Ancient textile artworks are mainly composed of organic materials including plant fibre and silk protein, which are highly susceptible to degradation during long-term storage, leading to serious decay, damage and other diseases. Consequently, they can’t be displayed and used, and they need scientific protection and restoration. The compatibility of reinforcement materials is an important factor that affects the stability and durability of these artworks. Firstly, based on the compatibility, durability and reversibility of the reinforcement material and the fibre material of the artwork body, this study studied the tensile strength, aging resistance and colour difference performance of the reinforcement material before and after dry heat aging, wet heat aging and ul-traviolet light aging. Secondly, we developed a new method of restoration and reinforcement for fragile and decaying ancient textile artworks, using fibre with same compatibility, which was successfully applied to the restoration and protection of ancient coloured paintings on ramie textiles, and in silk banner archives during the early days of the People’s Republic of China. The backs of the rotten and damaged textile artworks were integrally reinforced with hemp fibre, silk fibre and PVA adhesive as the substrate, and their mechanical The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 2 Wed 10:00–12:00 The Art of Ancestral Worship at Empress Xiaoshengxian’s Lecture room 2 Tomb at the Western Qing Necropolis Material Culture, Representation, Ricarda BROSCH, Victoria & Albert Museum, London; and Spaces of Elite Women of The Courtauld Institute of Art, London (Ricarda.Brosch@courtauld.ac.uk) the Qing, 18th-20th Century From the Kangxi emperor (1654–1722) onwards, an emperor’s tomb was not to be reopened after burial, which meant that empresses who survived their Chair: husbands were buried in separate tombs, adjacent to the main (the emper-Nixi CURA, University of Glasgow (Nixi.Cura@glasgow.ac.uk) or’s) tomb. Empress Xiaoshengxian (1692–1777) died in 1777, considerably Discussant: later than her husband, the Yongzheng emperor. Her coffin thus lies in a sepa-Yu-chih LAI, Institute of Modern History, Academia Sinica, Taipei rate tomb, Taidongling, the tomb east of Tai mausoleum (Yongzheng’s tomb), constructed under Qianlong at the western Qing tombs, or Xiling. The study of women’s agency in the making and appreciation This paper looks at the architecture and its associated ancestral practices at of art and material culture, particularly in late imperial China, Taidongling. In considering the complete burial place, I show the important has garnered considerable excitement and research in recent relationship between overground and underground palaces that made up the years. Using different methodologies, four papers in this panel site, which came to be known as the city wall and dome ( baocheng baoding). revisit sites and objects to show how the agency of their female Despite strict rules and regulations, the overground palace structures, most importantly the Hall of Eminent Favours (Long’en Dian) at the tomb site, were commissioners, participants or consumers offers new ways of subject to constant change and alteration because of the continuous influx of exploring their material qualities, functions, and interpreta-finest imperial art offered to its offering halls. In focusing on Empress Dowa-tions. ger Chongqing’s tomb places, the paper discusses the importance of ancestor worship at the mausoleums (to which we can attribute the elaborate offer-The first paper explores how elite women at court changed ings) in keeping alive the life and legacy of one of the most powerful women and subverted Qing burial regulations, bringing to life a richin Qing history, even into the afterlife. er and unconventional way of death. In the second paper, the 38 39 five consorts buried with the Qianlong emperor raise questions regarding the criteria for accompanying him in the afterlife, especially given the Tibetan Buddhist programme of Who is Buried in the Qianlong Emperor’s Tomb? his tomb. The third paper looks at women, including Empress Nixi CURA, University of Glasgow Dowager Cixi, as commissioners and recipients of Jingdezhen (Nixi.Cura@glasgow.ac.uk) porcelain, countering narratives framing the 19th century as a Nine months after the Qianlong emperor’s death in 1799, he joined two period of decline. The splendid dalachi headdress features in empresses and three concubines already interred in the underground cham-the fourth paper, which examines the development of its form ber at Yuling, his mausoleum in the Eastern Qing tombs northeast of Beijing. and looks at the headdress as an object of Manchu identity, The coffins of three previously deceased consorts were relocated to the tomb nostalgia and fantasy in the early 20th century after the fall of upon its completion in 1752, then two others entered the crypt in 1757 and 1775, more than twenty years before the arrival of the emperor. In this unusu-the Qing. ally long interim, the emperor could amend the tomb decoration and its con-Together, the papers combine new scholarship on female tents, including its inhabitants, to construct his ideal resting place. There is no question here of these women having any sort of agency after their deaths, agency in the Qing and Republican era and reveal how wom-regulated by state ritual and subject to the emperor’s preferences. en at times bent social norms and conventions, and instigated changes in art and material culture that would affect tastes and This paper builds upon recent scholarship on the representation, social lives, values beyond their inner circles. and material culture of Qing imperial women to explore the ritual preparations and accoutrements related to their funerals, mourning periods, and deposition at Yuling. Since the tomb was looted in 1928, the extant evidence centres around the Tibetan Buddhist images and texts covering the stone walls and the surviving lacquer coffins, then and now the primary visual components of this sacred space. How, if at all, did these imperial consorts engage The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) with this religion at court? This study will present relevant comparisons to This paper examines the development of form and decorative styles of the the emperor’s dedication of Tibetan Buddhist objects and places to Empress dalachi headdress in early 20th-century China. Drawing on primary visual Dowager Chongqing (1692–1777), who outlived the five wives buried with sources of photographs and newspapers, I argue that female members of the her son and, unlike them, got a tomb of her own. – imperial family and influential Peking Opera actors both played pivotal roles in the increasing size of frame and ornaments of the dalachi. The former continued to wear the headdress in festive occasions as visual demonstrations highlighting their Manchu elite status, and the latter featured it as part of their fantastic costumes to feed the craving of the general theatre audience for the The Agencies of Imperial Women previously exclusive sight of elite Manchu ladies as mass entertainment. in 19th-century Porcelain Production Refuting gender stereotypes in female hairstyle and dress, this study expands Nicole CHIANG, Hong Kong Palace Museum (nicole.chiang@hkpm.org.hk) the usual focus on objects of headdresses and costume in fashion, design, and art histories. It tackles the broader issue of ethnic tensions, investigating In current scholarship, little attention has been paid to the production of female coiffure and attire as prominent visual markers of Manchu identity in Chinese imperial porcelain in the late Qing dynasty and its association with representation and self-representation, reframing history to assert the value imperial women. It is commonly believed that the court had little energy and of visual culture. resources for artistic production when struggling with internal uprisings and external assaults. However, several major orders were commissioned by and completed for imperial women in the second half of the 19th century. The imperial kilns at Jingdezhen were left in ruins by the Taiping rebels in 1855 and were only re-established in 1866 for the purpose of producing ‘over 10,000 porcelain pieces for the empress [to be]’ before her wedding to the Tongzhi emperor (r. 1862–1874). In 1885, the preparation for the wedding of the Guangxu emperor (r. 1875–1908) led to another commission. The porcelain was made for imperial women, with the Empress Dowager Cixi (1835– 1908) as the main patron behind all other major imperial commissions in 40 1873, 1876, 1884, and 1886. 41 When the Taiping rebels decimated the imperial kilns, they also destroyed previously approved preliminary drawings, patterns, models and prototypes used to guide the production of final products. Without an established repertoire, the court was forced to abandon conventions. This gave Cixi the opportunity to create new styles. By exploring the agencies of imperial women in the second half of the 19th century, this paper aims to subvert the common belief that the late Qing was an age of decline for Chinese imperial porcelain and to recast it as an era of innovation. The Dalachi Grandeur: Developing the Great-Stretch-Wing Female Manchu Headdress in Republican (1912–1949) China Yingbai FU, SOAS, University of London (665234@soas.ac.uk) The dalachi, the Great-Stretch-Wing headdress of Manchu women, is today the single most recognisable and widely accepted visual signifier of Manchu ethnic identity. Few realise that its grand appearance familiar to us today—its tall structure and elaborate large central decoration scheme – was developed only after the fall of the Qing dynasty (1644–1911). This strikingly contradicts the master narrative of strong anti-Manchu sentiment prevailing among the majority population of Han Chinese in the early Republican period. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 3 Wed 10:00–12:00 ucate the public in Korean history and geography. Images of representative Lecture room 4 sites and landmarks of Seoul helped strengthen the centrality of Seoul as the Representations and capital city of the modern Korean nation-state. Japanese photographers grew to be the dominant creators of photographic images of Seoul after 1905. Pho-Visualizations in Architecture tographic postcards of Seoul and its landmarks became influential as they became an affordable and widely accessible commodity in the early twentieth Chair: century. Similar images of Seoul were also used in colonial propaganda to Patricia FRICK, Museum of Lacquer Art, Münster commercialise, and at times, desacralise sites of Korean heritage. This paper (patricia.frick@basf.com) will analyse images of Seoul that were created and disseminated by Western, Korean, and Japanese agents in the 1880s–1910s and investigate their impact in formulating representative images and ideas of the Korean nation-state. Maps of Inner Citadels During the Song-Yuan-Ming Transition Pania Yanjie MU, Heidelberg University Monumentality and Miniatures: City and Architecture in Mughal Muraqqa The Chinese imperial capital was constantly under relocation, reconstruction, and destruction, as the empire divided and unified in dynasties. Archaeologi-Shatarupa THAKURTA ROY, Indian Institute of Technology Kanpur (IITK), cal excavation shows that, until the Song dynasty (960–1279), many Chinese Kalyanpur, Uttar Pradesh cities featured an inner citadel as a geo-centre, which was established when Leonardo DiCaprio in the movie Inception, the 18thC East India company the city was at one stage the capital. The Song dynasty urban maps configured officer, and the Akbar of the 16thC Mughal court all have a common essential the citadel as a visual centre, which corresponds to Zhou Li’s centralised ur-dispositional need – the quintessential component of the human species’ so-ban planning ideal. cial-living space, its architectural surroundings. Over the years, it has sheerly changed in style and build. All that was built has not lasted the time, but However, the jurisdiction system after the Song dynasty shifted to a negative what has lasted gives us fascinating narratives to understand. Historical-visual attitude towards inner citadels. Many citadels were abandoned or destroyed, depictions that include monuments play a significant role as they include nu-and local administrative offices were re-sited, resulting in a less concentric merous elements of their contemporary time in enormous detail. Therefore, urban pattern. As the inner citadels became illegitimate or even degenerated 42 the art-historical study of visual records illuminates human history and allows 43 into taboo places, the Song dynasty maps portraying these citadels were re-us to visualise it. moved from public viewing. Meanwhile, cartographical compositions representing a decentralised urban order emerged in the Ming, advocating urban The Mughals, one of the medieval Indian ruling dynasties, patronised minia-forms different from Zhou Li’s ideology. How did maps’ iconography interact ture paintings as documentation of the time, narrating Mughal royal court-city with urban morphology? What is the relationship between the cartographic life. The paintings are richly intricate, as Persian and local Indian art ethos pictorial and physical in imperial China? This research tackles this issue by were married to form the Mughal Miniature Paintings. These paintings witness investigating maps of Chang’an, Kaifeng, Suzhou, and Hangzhou during the scenes of fortified wall spaces, with royal architecture buzzing with adminis-Song-Yuan-Ming period, and further reflects on the map’s role as layered ar-trative and leisurely events, depicted in a detailed-intricate style in miniature chaeological representation. folios. The study elaborates on the architectural representation of buildings in min-Visualising the Capital: Visual Records iature paintings and compares multiple components of these monuments to of Seoul in the 1880s-1920s the architectural descriptions of 300+ years of Mughal rule by investigating the stylistic depictions, decorative components, and changes in their semiotic Jess Jiyun SON, SOAS, University of London meaning over the period. The study follows comparative analysis, including (js132@soas.ac.uk) visual semiotics, to interpret and elucidate patterns in architectural depictions The capital city of Joseon Korea has had many names, including Seoul, Han-to capture the possible reasons and effects. The study findings elaborate on seong, and Gyeongseong. When Korea opened its ports to the world from how these miniature paintings not only throw light on the shifting perspective 1876, the capital city of the so-called hermit kingdom was finally revealed to of architectural representation but also speak about the shifting perspectives the Western world. From the 1880s, Western visitors began to travel, sketch, towards architecture and cities from Contemporality and monumentality. paint, and take photographic records of the views of Korea, especially of Seoul. Palace grounds as well as city gates were popular sites that represented the city, and these images were published in travelogues that introduced the lesser-known Eastern kingdom to the Western public. Toward 1900, Korean textbooks also incorporated various illustrations of the views of Seoul to ed-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 4 Wed 10:00–12:00 Producing Uji: From Poetic and Lecture room 13 Religious to Tea Production Site Entanglements of Place, Identity, Shiori HIRAKI, SOAS, University of London and the Environment in the Visual (hirakishiori@gmail.com) Culture of Early Modern East Asia This paper will show how a new framework of meisho was created in a scroll by a Kano¯ painter. The area in question is Uji, the most famous tea production site in early modern Japan. Originally, Uji had already been a historic Chair: Doreen MUELLER, Leiden University famous place since ancient times thanks to its poetic resonance of waka po- (d.mueller@hum.leidenuniv.nl) etry and religious institutions such as the Byo¯do¯-in Temple. The flourishing and fame of Uji’s tea production industry since the late sixteenth century, however, forced this time-honoured framework of the landscape to focus on The construction of the image of place and identity in the the productivity of the industry. By examining the images of a scroll by Kano¯ popular imagination in early modern East Asia has often been Tansetsu (1655–1714), a Kano¯ school painter who served the shogunate, this seen through a human lens foregrounding cultural traditions paper discusses how this new framework of Uji was delivered by objectifying and products. Within this anthropocentric framework of place and displacing the traditional connotations of the symbols of Uji and through the representation characterised by the idealised and harmonious labour of and identity, the nonhuman environment including plants, men and women, young and old. The figures in the image are the agents animals, mountains, rivers, and the climate has largely been who actively transform Uji into the productive land of tea. Added to this was understood as performing the role of boundary, backdrop, or the visualisation of other local customs possibly learnt from published books, scenery. This focus obscures the important role that the envi-which strengthens the impression that the scroll presents the reality of the ronment played in shaping the evolving image of place and local area. The scroll was one of the pioneers that produced a new image of identity in early modern East Asia. This panel puts the empha-Uji as a famous place of tea production. sis on how notions of place and identity changed over time based on a combination of human and environmental factors. Reconciling the Image of Mount Asama as Famous Place 44 In early modern East Asia, notions of place were undergoing 45 and Environmental Actant in the Late Eighteenth Century significant changes driven by urbanisation, technological de-Doreen MUELLER, Leiden University velopments, and evolving road networks which connected (d.mueller@hum.leidenuniv.nl) previously distant places to an unprecedented degree. At the This paper investigates how representations of the eruption of Mount Asama same time, these developments also coincided with powerful in 1783 in maps and broadsheets expanded its existing image as the “smok-environmental factors, most notably, sudden impacts caused ing mountain”. The cultural memory of Mount Asama as a mountain emitting by inclement weather, volcanic eruptions, or earthquakes, but smoke and fire was reiterated across time and media – in ancient court poetry also longer-term climatic developments. The first three pa-as well as in early modern illustrated travel guides, and in reference books such as the Wakan Sansai Zue (Illustrated Sino-Japanese Encyclopaedia of pers in this panel discuss how these environmental impacts the Three Realms, first published in 1712). At the same time, as Goree (2020) have been obscured, foregrounded, or subconsciously the-has shown, printed illustrated guides to famous places in the eighteenth cen-matised in the representation of place in early modern Japan. tury increasingly framed local places as visual spectacles viewed through the The fourth paper explores the contribution of environmental leisurely gaze of urban travellers, often from the vantage point of the road or factors to the construction of social identities and notions of from above. Illustrated travel guides and maps registered Mount Asama within place in the visual culture of early modern China. a prosperous landscape bounded by rice fields, villages, and roads. However, the eruption of Mount Asama brought home the realisation that the “smoking mountain” could not be registered simply as a visual spectacle or as an unchanging component of a prosperous landscape. Its secretions – ash, smoke, fire, and mudflow – buried rice fields and blocked rivers, demonstrating its agency as a powerful environmental actant effecting tangible change in the land. How was the cultural memory of the mountain negotiated with its environmental impact on the land? The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Elephant Keepers: Visual Imagery of the Social Outcast Panel 5 Wed 13:30–15:30 Lecture room 15 Fan LIN, Leiden University (f.lin@hum.leidenuniv.nl) Shang and Zhou Bronze Objects Due to climate change and the expansion of human settlements, native ele-in European collections (I): phants retreated to the very southern edge of the Song (960–1279) Empire. Collections Histories and At the same time, domesticated elephants became the most visible animals in imperial processions and inspection tours. While recent research has shown Exhibits as Historical Sources interest in how these elephants were exploited to advocate imperial power, little scholarly attention has been paid to elephant keepers. Although ele-Chair: Maria KHAYUTINA, Ludwig-Maximilians-University of Munich phants were auspicious and royal symbols, their keepers were paradoxically (maria.khayutina@lmu.de) social outcasts in the Ming-Qing (1368–1911) capitals. The stigmatisation of Alice Yu CHENG, Museum Rietberg, Zürich (chengyualice@gmail.com) elephant keepers, who were often dubbed xiangnu (elephant slave), was di-Discussant: rectly linked to the place where they were from. This paper examines how Lothar VON FALKENHAUSEN, they were relocated from their hometowns in the southwest of the Ming-Qing University of California, Los Angeles Empires and Southeast Asia to the capitals, and how they were imagined and represented in paintings and written records. The first part of this paper traces the etymology of xiangnu and their social identity; the second part examines the lived reality of the elephant keepers and how they were perceived in the Ming-Qing capitals; the third part of the paper examines how they were Bronze ritual vessels, sophisticated in decoration and often in-imagined in ethnographic representations, i.e., the illustrations of tributaries. scribed, are conspicuous tokens of pre-imperial Chinese mate-Elephant keepers were never faithfully represented in visual imagery; rather, rial culture. European museums and private connoisseurs have they were assigned to ethnic identities and were depicted through the imagi-been collecting them since the 19th century. However, where-nation of their place of origin. as the objects’ artistic beauty has long sparked visitors’ admiration, their potential for the study of early Chinese art, tech-46 47 nology, writing and history still waits to be explored. The use of the exhibits for research is hampered by certain obstacles. For instance, their archaeological context and their place of excavation are usually unknown. Sets that originally belonged together were pulled apart and currently form part of different collections. The gradual accumulation of data about museums’ collections world-wide, the discovery and publication of new bronze-yielding archaeological sites, and the application of new scientific methods of analysis open new avenues both for re-contextualising European exhibits, and, on the other hand, for advancing the study of the Chinese Bronze Age in general. The present panel brings together museum curators and specialists in art history, archaeology, archaeometallurgy, palaeography, and history, who approach Chinese bronze objects in European collections from different angles. For example, the bronze collections at the Museum Rietberg and the Cernuschi Museum are revisited by supplementing the objects’ archaeological and epigraphic context. Bronze vessels from major UK collections including the British Museum are analysed to rethink the organisation of bronze production and the flow of metal resources. The collection in the Museum of Far Eastern The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Antiquities in Stockholm is examined with a fresh look at its region during the Western Zhou period. I will elaborate on the sharing of such provenance history. The panel aims to promote interdiscipli-a motif within the said region and explore the socio-political implications. nary dialogue and inner-European cooperation. Henri Cernuschi Ancient Chinese Bronzes: An Epigraphical Perspective Shang and Zhou Bronzes in the Collection of the Museum of Far Eastern Antiquities, National Museums of World Olivier VENTURE, École pratique des hautes études (EPHE), Paris Culture, Sweden (olivier.venture@ephe.psl.eu) Michel LEE, Museum of Far Eastern Antiquities, Stockholm Henri Cernuschi (1821–1896) was a successful banker and renowned collector. After the Commune of Paris, he left France for a World tour. Between 1871 The Shang and Zhou dynasty bronzes in the collection of the Museum of Far et 1872, he spent part of his fortune buying antiquities in Japan and China, Eastern Antiquities in Stockholm, Sweden, represents one of the earliest sys-including an important number of ancient Chinese bronzes. He died in 1896 tematic collecting endeavours of a Western museum for this category of mate-after leaving his mansion and his Asian collections to the City of Paris. The mu-rial. The collection includes vessels, smaller bronze weapons and horse and seum opened on 26 October 1898. Under the direction of several generations chariot fittings, as well as Ordos (northern) bronzes. of curators, the Cernuschi Museum’s ancient Chinese bronze collection has The collection is a conglomeration of material contributed by people such kept growing, becoming one of the most important collections in Europe. A as the archaeologist Johan Gunnar Andersson, Sinologist Osvald Sirén, the few years ago, the project of a general catalogue of this specific collection was industrialist Anders Hellström, and Crown Prince, later King, Gustaf VI Adolf, launched. The project is still ongoing, but it already sheds new light on one of who was interested in ancient East Asian civilizations and a collector of Asian the earliest ancient Chinese bronze collections in Europe. In this communica-antiquities and art, particularly from China. Much of the material would also tion a particular emphasis will be placed on inscribed bronzes. have either come directly from or passed through the hands of Orvar Karlbeck and the Karlbeck syndicate. The Deng xiao zhong ding 鄧小仲鼎 Bronze Tripod This presentation gives an overview of the Shang and Zhou dynasty bronzes and Political Complexity in the Zhou’s “Southern Region” in the collection of the Museum of Far Eastern Antiquities. It will include Maria KHAYUTINA, Ludwig-Maximilians-University of Munich 48 histories of some of the more notable collections, as well as highlights in the (maria.khayutina@lmu.de) 49 collection. Recent archaeological finds, including, most conspicuously, the discovery of several cemeteries of the Zhou colony, Zeng 曾, in Hubei have sparked a re-Ancient Chinese Bronzes in the Museum Rietberg Collection: newed interest in the south of China in the Zhou period. Zeng was but one Examining Museum Objects from an Archaeological of the many local polities mentioned in various sources but which manifest a Perspective weak archaeological record so far. One of them, Deng 鄧, located on the Han 漢 River – a major, strategic transportation vein in central China – plausibly Alice Yu CHENG, Museum Rietberg, Zürich (chengyualice@gmail.com) had considerable political weight during ca. the 10th to early 7th century BCE. A rectangular cauldron with a 23 characters-long inscription in the Rietberg The Museum Rietberg in Zürich is the only public Swiss institution which Museum in Zurich is rare evidence of Deng’s early history, relevant for under-houses a large ancient Chinese bronze collection, consisting of ritual vessels, standing the development of this region. The present paper analyses the Deng weapons, chariot fittings, mirrors and ornaments dating from the Erligang pe-xiao zhong ding’s appearance and the paleography of its inscription, com-riod to the Tang dynasty (ca. 1500 B.C.–907 A.D.). Since 2020, the collection paring it with archaeologically excavated counterparts from various places in has undergone thorough research, with the goal of deciphering the objects’ Hubei and objects in other museums, aiming to adjust its date and pondering archaeological context. The project will conclude with the publication of a the possibility that it could be locally manufactured. Based on further archae-research-based catalogue (2023 or 2024). In this paper, I will introduce the ological finds and transmitted texts, it further explores the relationships be-research project and present the museum’s bronze collection. I will also dis-tween Deng and its neighbours. Finally, it uses this case study to talk about cuss the major findings of the project by focusing on several important Shang contingency as a factor of history, archaeology, and collecting. and Western Zhou pieces. For example, the base of one of the museum’s you (bucket) vessels is cast with a cicada motif in thin outlines. Decoration as such on the vessel base is unusual. I will analyse the motif alongside other excavated ones, and give my interpretation of such a casting practice. Another example is that a specific motif on one of the museum’s jue (goblet) vessels may have originated, and was available only within or in the vicinity of the Arc The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 6 Wed 13:30–15:30 of Lower Styria into a temporary regional administrative unit, the Germans Lecture room 2 began confiscating movable cultural heritage, using the Capuchin Monastery The Challenges of Studying and in Celje as a warehouse. The post-war authorities retained the monastery for storing their own confiscated property. This insight led us to the (re)discovery Displaying East Asian Objects of further East Asian objects in our museum depot that are not a part of the and Collections in Slovenia (I) same Collection. Based on the partially preserved museum documentation and archival documents we are trying to piece together the story of whence Chair: and from whom the objects were taken. Maja VESELIČ, University of Ljubljana (maja.veselic@ff.uni-lj.si) East Asian Art from the Collections of Slovenian Mariners Over the past decade, but especially since 2018 when fund-Bogdana MARINAC, Maritime Museum “Sergej Mašera” Piran (bogdana.marinac@guest.arnes.si) ing was obtained from the Slovenian Research Agency (ARRS), a group of researchers and curators centred around the De-Among the people originating from the Slovenian ethnic region and travel-partment of Asian Studies at the Faculty of Arts, University of ling to East Asia during the 19th century and the first half of the 20th century, mariners of the Navy and Merchant Navy predonimated. From their travels, Ljubljana began to systematically identify, record and analyse they brought predominantly small and inexpensive items, considered mainly objects and collections of East Asian origin in Slovenian heras souvenirs. Only individuals of a higher class, or of higher naval rank, occa-itage institutions. Despite the fact that the objects have been sionally brought home more expensive artifacts, including works of art. Today, in museums for many decades, some have even not yet been they are kept in museums or are part of private collections, often owned by inventoried, many have never left museum depots and even the mariners’ heirs. those that had previously been exhibited have received little With the aid of an analysis of the registered items we were able to assess what research attention, due to lack of expertise, finance or interest. in fact led mariners to purchase all these items, which artifacts of artistic value This panel showcases our ongoing work by focusing on some were particularly popular among them, as well as the artistic knowledge of 50 of the challenges we have faced in our attempts to study the mariners and their heirs and their aesthetic norms and attitude towards East 51 Asian cultures and arts. At the same time, we wished to ascertain what place objects and collections and in sharing our findings with the these objects held and still hold in museums, specifically in the Maritime Mu-wider public. seum Piran from its foundation in 1954 until today, and how to suitably evaluate, hold and present them today. On the basis of individual cases, we wished to draw attention to the problems encountered in this respect in the Maritime Museum Piran and some closely related museums. The Collection of Objects from Asia and South America in the Celje Regional Museum and the Question of Their Provenance In Search of the Artist: Two Mariners’ Oil Paintings from East Asia Davor MLINARIČ, Celje Regional Museum (davor.mlinaric@pokmuz-ce.si) Chikako SHIGEMORI BUČAR, University of Ljubljana (chikako.shigemoribucar@ff.uni-lj.si) In my paper I examine the challenges of establishing the provenance of objects of East Asian origin in the Collection of Objects from Asia and South Among many images of old ships in the Maritime Museum Sergej Mašera Pi-America in the Celje Regional Museum. The collection was formed after World ran, there are two peculiar oil paintings of Austrian warships, one of S.M.S. War II from objects found in the regional branch of the Federal Collection Zenta, another of S.M.S. Kaiserin Elisabeth, both from the last half of the 19th Centre, through which Yugoslav authorities managed the confiscation of art century. Both ships are depicted in stormy weather with high waves under a objects. Due to sparse confiscation records the origin and provenance of the dark sky. According to unreliable sources, both were painted by a Japanese objects were unknown and remain a matter for further research. painter with the name ‘Miato Iguchi (Iguči)’ (Žitko 2000, 93–94; Marinac 2017, 15–16). The name is not generally known as one of the Japanese artists A closer examination of 13 Japanese armour pieces that were likewise acquired who had known the western style of painting in the Meiji period. from the Collection Centre reveals, however, that even the confiscation part of objects’ stories is more complicated. My own research shows that the armour A recent visitor to the museum and a specialist in Austro-Hungarian history pieces most likely became part of the museum collection as a consequence pointed out that on both paintings, the name of the ship is spelled without of both Nazi and Communist confiscations. After having transformed the area any space between words (S.M.S.KAISERINELISABETH, S.M.S.ZENTA), and The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) this shows that the painter was not familiar with the European style of writ-Panel 7 Wed 13:30–15:30 ing in the Latin alphabet. Both of these ships were in the East Asian waters Lecture room 4 between 1899 and 1901 at the time of the Boxer Rebellion in Qing China, sending landing parties ashore as part of the Eight-Nation Alliance to guard Where Advanced Technologies the Legation Quarter. More research is needed to discover the real identity of Meets Art: On the History of the painter, the background, and the true provenance of the paintings. Craftsmanship Studies and New Media Art Creations Based on the Souvenir Photography from East Asia in Slovenian Qing Court’s Artifacts (I) Collections Chair: Maja VESELIČ, University of Ljubljana Chien-yu WANG, National Palace Museum, Taipei (maja.veselic@ff.uni-lj.si) Apart from porcelain, the most common objects – in numbers and spread across collections – of East Asian origin in Slovene heritage institutions are During the past two decades, scholars have obtained a wealth photographs and postcards, both of which straddle the boundary between of results from the studies of the Qing Court’s historical arti-the souvenir and the collectible. This contribution focuses on photographs. facts, thanks to the new approaches in the history of crafts-It first gives an overview of collections of old East Asian photographs in Slo-manship and media technologies. At this conference, we shall venian museums, libraries and archives, dating from the late 19th century to World War II, contextualising particular collections/albums in the biographies present findings on Qing Dynasty-related topics including Chi-of their original owners. nese Muslim craftsmanship, European copperplate printing in the Qing court, and the first fleet review of the Qing navy. While the vast majority of the photographs were brought from China and Japan by various members of the (predominantly Austro-Hungarian) navy and Taiwan has a powerful information technology sector that has merchant marine, and clearly served as reminders of their time in East Asia, nurtured flourishing new media technologies. Here we shall the photographs differ greatly in the level of intimacy and personal detail, review the National Palace Museum (NPM)’s new media de-52 ranging from generic tourist albums and souvenir portraits to intimate por-velopment strategy and its history of content creation with an 53 trayals of everyday life in Japanese internment. The second part of the paper introduction to the digital collection’s new trends. We shall thus sketches out a working typology of old East Asian souvenir photography take a closer look at the new media tools’ impacts on research based on the subjects of photographs found in Slovenian collections and the likely methods of how they were obtained (pre-ordered from catalogues, tak-and presentation, such as the visualisation and geographic en by own camera, etc.). It concludes with some reflections on how to assess information system (GIS). We will analyse how we have used these collections when only sparse, if any, information is available on the cir-information technology to present topics such as Emperor cumstance of their production and acquisition in East Asia and later use by Qianlong’s southern inspection tours, and the visit of the Gov-those who brought them to the area of present-day Slovenia. ernor-General of Fujian and Zhejiang to Taiwan (then a part of Fujian Province). The new approach based on the history of craftsmanship and new media arts is now ‘hot’ in the fields of the study and presentation of the Qing Court’s artifacts. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) On the New Technologies Adopted by the Qing On the Review of Beiyang Fleet by Yixuan, Palace Workshop as Shown by its Muslim Goods Prince Chun and the Military Art Created for It Yu-wen WENG, National Palace Museum, Taipei Wei-chiang CHOU, Hong Kong Palace Museum (joharaweng@gmail.com) (fence.chou@gmail.com) The 1759 pacification of northwestern China’s (Huijiang) Muslim Rebellion During the Sino-French War (1884–1885), Yixuan, Prince Chun replaced Yixin allowed Xinjiang to become Beijing’s trading post for tributes and goods from to become Qing’s top decision maker. This in-palace coup, supported by Em-the Islamic world. According to many archives of the Qing court, these items press Dowager Cixi, was called “Jiashen Yishu” or the 1884 Change of Power. were usually named “huizi” or Muslim goods. Not only were goods sent to The ironclads purchased from Germany were delivered to China one by one Beijing, but many Huijiang craftsmen were hired to work in the court. The after the war. Yixuan was in charge of the newly established Naval Yamen to “huizi” or Muslim goods, including porcelain, jades, bronzes, ornaments, control naval defence costs and issues. In the 4th month of the lunar year of swords, knives, and pouches, brought fresh ideas to the aesthetics of the pal-1886, Yixuan was ordered by Cixi to review the Beiyang navy and army. He be-ace. While many contemporary studies are focused on Qing’s adoption of Eu-gan his journey to Lüshun, Weihai, and Yantai to inspect naval facilities and the ropean technologies, we investigate the influence on Qing’s palace craftsman-fleet by taking ship at Tianjin. Upon completion of his task, he published “Po-ship of “huizi” or Muslim goods that entered the court after the middle of the etic Essays on a Sea Journey” (Hanghai Yincao). Zhou Fu, his aide-de-camp, Qianlong reign. published “A Journal for Prince Chun’s Review of Beiyang Naval Defence” (Chinqinwang Xunyue Beiyang Haifang Riji). He was with two photographers, Liang Shitai of Guangdong and Reisinger of Germany. Yixuan had seen many On the Qing Court Artists’ Adoption and Internalisation paintings collected by past emperors. He also had supervised the making of of European Technologies: Using Imperial Copperplate war paintings about the pacification of Guangdong’s uprising, “Nian”, and War Engravings as an Example some Islamic rebellions. Qingkuan, his own painter, was in charge of the creation of “The Prince’s Review of the Beiyang Naval Defence” (Xunyue Beiyang Chien-yu WANG, National Palace Museum, Taipei Haifangtu) and “An Album for the Bohai Naval Review” (Bohai Yueshi Tuce). Copperplate printing was first introduced to the Chinese court by Matteo Ripa These texts and images give us a look at the Beiyang fleet before its founding. (1682–1745), an Italian missionary, who created engraved printings of the Here we shall first visit the political landscape before this review, and Yixuan’s Chengde Mountain Resort for Emperor Kangxi (1654–1722). After the con-personal life. Then we will explore his fleet review journey based on these 54 quest of Dzungar and Altishahr, Emperor Qianlong (1711–1799) ordered sev-55 texts and images. The paintings in “The Prince’s Review of the Beiyang Naval eral court missionaries including Giuseppe Castiglione (1688–1766) to create Defence” and “An Album for the Bohai Naval Review” are the most valuable drafts of the Victory in the Pacification of Dzungars and Muslims series, to official sources of this review. These extraordinary pictures used tradition-be sent to France for engraving and printing. As an example of technological al Chinese palace painters’ elements and western world photographic and adoption, it was China’s first large-scale introduction of copperplate engrav-cartographic techniques. We’d like to use the above-mentioned sources to ing and etching from Europe. Subsequent military victories were also memori-explore in detail what happened in this greatest Qing naval review, and how it alised using engravings. The Pacification of Two Jinchuan Regions was drafted affected Late Qing’s naval defence and military art. by the missionaries and engraved by Qing court artists. The Pacification of Taiwan and many other latter battles were solely engraved by Chinese artists until the Daoguang reign’s The Victory in the Pacification of the Muslim Region. Progress with the Times: The National Palace Museum’s This was China’s adoption and internalisation of copperplate engraving tech-Display of New Media Art Innovation niques, and the National Palace Museum has many of them in its collection, with several test prints. Here we are investigating the study of engraving and Chen-wo KUO, National Palace Museum, Taipei (kg3053@gmail.com) printing techniques by Chinese artists and how these European techniques influenced them. We shall compare these series to learn more about the uses In addition to meeting public expectations for exhibitions and self-directed and internalisation of copperplate printing techniques in the Qing court using development, today’s museums must also have international visions and crea-the NPM’s collection. tive strategies in order to attract a large audience and establish their presence on the world stage. The National Palace Museum (NPM) is a world-famous museum with an extensive collection of art and historical items. In recent years, in response to changing trends, it has also been considering repositioning, whether in the areas of the upgrading of architectural facilities, the methods of curating and thinking, or exhibitions. NPM staff are actively investigating new development directions in terms of activities or the expansion of visitor numbers in order to solve the problems posed by their tasks and established responsibilities. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) The museum’s collection of precious artefacts tells a story of change and pros-Panel 8 Wed 13:30–15:30 perity. New media technologies can bring cultural remains to life by making Lecture room 13 them more colourful, three-dimensional, and mysterious, and inviting visitors to immerse themselves in them. In recent years, museums and galleries have Fragments of the Empire: begun to pay attention to this innovation theme. Over the years, NPM has ex-The Afterlives of Japanese perimented with new media technologies to explore and explain the stories Imperialism in Modern Times/Today behind its collections, revitalise and reinterpret them, reach a wider audience, enhance visitor journeys, foster community connections and provide aesthet-Chair: ic experiences. Patricia LENZ, University of Zurich (patricia.lenz@uzh.ch) Technological progress also affects different types of new media art. In static Discussant: Ayelet ZOHAR, Tel Aviv University installation art, cinema, animation, video art, sound and music, the scope of technological applications that have “changed” over time according to technological developments is an important feature of new media art. In dynamic The emergence of the modern Japanese Empire was accompa-interactive media, it can be divided into electronic art, virtual reality and aug-nied by a vast artistic, administrative and archival production, mented reality. The new approach allows viewers to connect with the muse-both commercial and governmental, reaching from Japan to um, while providing remote services to visitors who cannot physically visit the the newly colonised regions. The imperial project informed museum. It gives a new meaning to the NPM, but also a new experience to the audience. scientific exploration, administrative archives, artistic production and society. This imperial legacy did not disappear after 1945, but instead remains a highly contested and deeply political subject. With current debates on colonial legacies in museums and archives, long-due recognition of violence and increasing political escalations, it becomes pertinent to confront the multifaceted legacy of Japanese imperialism. This panel 56 analyses the various forms in which Japanese imperialism has 57 survived and seeks to answer some of the complex ethical, artistic and scholarly questions this legacy raises. The panel is comprised of three scholarly presentations, analysing the traces of Japanese imperialism in Korean palace architecture, Bauhaus design in Japan, and the use of Japanese war imagery on social media. A fourth presentation offers the perspective of a contemporary artist who examines different historical narratives and war memories, offering a chance for introspection and reconciliation. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Defeating the Bear: The Legacy of Russo-Japanese Destruction/Reconstruction: Traces of the War Imagery on Social Media Japanese Empire in the Royal Palaces of Seoul Rebeca GÓMEZ MORILLA, University of Zurich Alison J. MILLER, University of the South, Sewanee (ajmiller@sewanee.edu) The Russo-Japanese War (1904-05) sparked a wide array of artistic production. The conflict between the enormous Russian Empire and the comparatively For seventy years the Japanese General Government Building (Joseon-chong-small Japanese Empire caught the attention of the world and with Japan’s dokbu Cheongsa), a neo-classical-style structure, dominated the space just be-victory, new legends, heroic figures and national memories were born, influ-hind Gwanghwamun, the gate that serves as the primary entrance to Gyeong-encing domestic and foreign perceptions of the Japanese Empire for decades. bok Palace, the largest and most important royal palace of the Joseon Dynasty. The impact of this war is thrown into stark relief with the start of Russia’s A conspicuous sign of Japanese colonial rule, the destruction of the Japanese invasion of Ukraine. Instantly, Western social media platforms were flooded General Government Building in the 1990s marked the beginning of decades with images and rhetoric from the Russo-Japanese War. The presentation first of historical restoration efforts on the Five Royal Palaces of Seoul, sites which summarises key aspects of Japanese war imagery, showing how pervasive and were significantly damaged under Japanese colonial rule and the subsequent persuasive they were in cementing Japan as the heroic defeater of the Russian Korean War. Just a mile to the south, Deoksugung Palace, which showcases a Bear. In a second part, the presentation focuses on material shared on Twitter European-style palatial structure alongside Joseon-style palace buildings and and how a past conflict with vastly different political and social dynamics is museum architecture from the Japanese occupation era, is also undergoing used to understand and support Ukraine’s fight against an invading force. This significant historical restoration, but with a different outcome: at Gyeongbok presentation looks at the complex hermeneutic shift and the role of visual im-Palace the goal is to restore the Joseon atmosphere, whereas at Deoksugung agery to study how the memory of a historical event is used to understand and the early twentieth century feeling is preserved. Focusing on Gyeongbok and comment on contemporary imperialism. Deoksugung Palaces, this presentation examines sites that were specific to the political incidents that occurred in the two decades just prior to the Japanese colonisation of Korea in 1911 and analyses how these sites are preserved and Bauhaus for Transwar Japan – Shifts in Design interpreted today, in order to better understand the architectural traces of the Teaching Practice Based on Political Changes Japanese colonial era that remain in the South Korean capital. Helena ČAPKOVÁ, Ritsumeikan University, Kyoto 58 (hcapkova@fc.ritsumei.ac.jp) 59 Exploring Japanese Imperialism and Along with the expansive politics of Imperial Japan of the pre-WWII period, Memory from an Artist’s Viewpoint the design teaching ideas from abroad were translated and appropriated for Japanese contexts, including the spreading of design culture and manufac-Mio OKIDO, Independent artist, Berlin (miookido@gmail.com) turing in the colonies. One such idea was the Bauhaus design teaching method introduced to Japan by the architect and designer Kawakita Renshichiro The artist Mio Okido presents some of her works and participative projects (1902–1975). He opened a Bauhaus-modelled school in Tokyo in the 1930s that critically engage with traces of Japanese Imperialism by recontextualising and travelled Japan widely to educate designers and design educators. His archival materials and remains in East Asia. Her exhibition project “They Are activity continued during the war and beyond. Under the post-war US-oc-Lying” (2020) explores the differences in historical perspectives among China, cupation, the Japanese Bauhaus students, such as designer Kuwasawa Yoko Japan, South Korea, and Taiwan, particularly the debate surrounding World (1910–1977) took the opportunity to reformulate design teaching, so that it War II. With a camera given to Okido by her father, she travelled through was still rooted in the pre-war German model, but presented in accord with Northeast China, Taiwan, and South Korea, as well as Okinawa, and took pic-the contemporarily dominant American vision for good design. This paper tures of remnants of the Japanese occupation and the accompanying military will illuminate the shift in design teaching and practice that responded to the conflicts. In the exhibition space, these images are complemented by sources demise of Japanese imperialism and developed to reflect the new, post-war from the different countries involved: comments on the war history by heads Japanese situation. of state, readings of influential stories about the culture of remembrance, and timelines from history textbooks, as well as interviews with the exhibition participants. Her multi-layered project therefore not only incorporates the physical traces of the Japanese Empire but also presents the continued significance of this period for the national and individual identities of today. Furthermore, her work successfully presents the diverging interpretations of the original events without hierarchically structuring these positions. In so doing, Okido creates an opportunity for comparison, learning, and reconciliation. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 9 Wed 16:00–17:30 such as the British Museum and Compton Verney, also show both the change Lecture room 15 and continuity of bronze production in this Shang-Zhou transition. Mean-Shang and Zhou Bronze Objects while, recent archaeological discoveries suggest that sites outside the Zhou centres were also producing bronze vessels. Two of these sites are Yaoheyuan in European Collections (II): and Kongtougou. These new discoveries encourage us to rethink the organi-Collections and the Study sation of bronze production in the Western Zhou. of Bronze Technology In this paper, I combine the evidence from both the archaeological materials of late Shang and Western Zhou metal producing sites and bronze vessels in Chairs: several UK collections. By comparing these materials, I argue that some Zhou Maria KHAYUTINA, Ludwig-Maximilians-University of Munich (maria.khayutina@lmu.de) vassal states had managed to establish their own bronze casting workshops Alice Yu CHENG, Museum Rietberg, Zürich during the Shang-Zhou transitional period. However, as the metal resources (chengyualice@gmail.com) were mostly controlled by the Zhou, local rulers still relied on the Zhou for Discussant: Lothar VON FALKENHAUSEN, University of California, Los Angeles the raw materials in order to produce their own bronze vessels. Introduction to the Bronze Collection of Early China at Where are All the Bronzes from: Re-contextualising the British Museum: An Overview for Future Collaboration Shang Bronzes in European Museum Collections Ruiliang LIU, British Museum Yung-Ti LI, University of Chicago (rliu@britishmuseum.org) Chao-jung CHEN, Academia Sinica, Taipei With around three hundred pieces, the collection of early Chinese bronzes It is a well-known fact in the field of Chinese Bronze Age art and archaeolo-at the British Museum provides an excellent range of materials to study and gy that there are many Chinese art collections outside of China with ancient showcase the unique features of Bronze Age China. It covers an almost com-bronzes of impressive and stunning quality. Bronzes that entered western mu-plete chronological sequence of Bronze Age China, ranging from the early seum collections are often pre-selected for their quality and in many cases for second millennium BCE to the rise of the Qin and Han states. The different their inscriptions, and a good number of them have no archaeological paral-60 styles also highlight the rich regional diversity from Yunnan to the northern lels. The loss of provenance information, however, means that the original 61 steppes. Over the years, several large scientific projects have been carried out archaeological context of these museum pieces, and consequently the chance to understand the bronze technology and the provenance of the raw materi-to integrate them with the current understanding of Shang archaeology, are als. Recent development in archaeometallurgy enables us to identify mixing both lost. and recycling, and therefore illustrate a more complex life history of the metal. With the new ERC synergy project (Horse Power, 2023-2026), we shall carry In this paper, we intend to find comparable archaeological examples to re-es-out scientific analysis of the objects with steppe features and put the flow of tablish the context of the Shang bronzes in overseas collections. Through metal in a bigger picture with horses and other state-building activities. examining styles and morphology and through comparing inscriptions, we would like to provide more detailed periodisation when possible; to reconstruct the original context by viewing bronzes as sets, not just individual piec-Changes of the Centralised Bronze Production during es; and to see if bronzes with the same or related inscriptions belong to the the Shang-Zhou Transition: Evidence from Archaeological same owners or are from the same general region. We hope that by re-contex-Finds and Museum Collections tualising, no matter how meagre and how indeterminate the results may be, we will be able to enhance our understanding of these museum pieces. Limin HUAN, Leibniz-Zentrum für Archäologie / Ludwig-Maximilians-University of Munich (lmhuan@outlook.com) Ritual bronze vessels played important roles in the social and political life of the Shang and Zhou societies. In the late Shang period, most bronze vessels were centrally produced in Anyang, which was also the political centre of the Shang. The products were then distributed among certain people in and outside Anyang. After the Zhou defeated the Shang around 1046 BC, the Zhou successors established new political centres in both the Wei River Basin and the Luoyang area. As a result, the bronze workshops in Anyang were closed down, while production moved to new Zhou centres, including Zhouyuan, Fenghao, and Luoyang. Bronze vessels in the major UK museum collections, The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 10 Wed 16:00–17:30 Panel 11 Wed 16:00–17:30; Lecture room 2 Lecture room 4 The Challenges of Studying and Where Advanced Technologies Displaying East Asian Objects and Meets Art: On the History of Collections in Slovenia (II) Craftsmanship Studies and New Media Art Creations Based on the Chair: Maja VESELIČ, University of Ljubljana Qing Court’s Artifacts (II) (maja.veselic@ff.uni-lj.si) Chair: Chien-yu WANG, National Palace Museum, Taipei Journey to the West: An Analysis of the Chinese Fan Group Nataša VISOČNIK GERŽELJ, University of Ljubljana (natasa.visocnik@ff.uni-lj.si) The Emperor’s Cultural Trips: A Survey of The Qianlong Emperor’s Southern Inspection Tours and their Geographic While researching East Asian fans in Slovenian museums, we came across a Information System Applications great variety of fans in motifs, form and manufacture, despite their small overall number. As part of the analysis of these fans, the presentation highlights an Yu-yang HUANG, National Archives Administration, National Development Council, Taipei interesting group of fans from the Collection of Objects from Asia and South America held by the Celje Regional Museum. The group consists of 22 very The Emperor’s inspection of his country was a major national event. In “My similar or identical folding fans made of the same material (bamboo handle Own Trip to the South”, Emperor Qianlong said, “During my 50 years on the and slats with one-sided painted paper) and painted in the same style and throne, I have done two very important things: I conquered the west and I with the same motif – images of the Beijing Opera House with a theme from visited the south.” This shows that his trips were seen to be as important as the famous Chinese novel Journey to the West, which continue from one to the pacification of China’s Northwest. The primary goal for the trips was for the other, the exception being one motif referring to the Taiping Rebellion. the emperor to inspect hydraulic engineering projects. He wanted to “examIn addition to a detailed technical description of the fans, the analysis delves ine with his own eyes to look for defects” and also to observe the country’s 62 63 into the motifs depicted, which very rarely appear on fans. Furthermore, ques-governance and people’s living conditions. He also wanted to earn local sup-tions arise as to the number of similar/identical fans, which is unusual for fan port and visit tourist attractions. To record the emperor’s activities, the palace collections. This is of course linked to the question of provenance, which is compiled “Imperially Endorsed Grand Occasion of the Southern Inspection” unknown in this case. Thus, there are many speculations as to why this is so, (Qinding Nanxun Shengdian) and also “Qianlong Illustrated Itinerary of which will be addressed in this paper. the Southern Tour” (Qianlong Nanxun Jichengtu). The emperor also created many poems and other writings on the road. He took many paintings and calligraphies with him so he could copy them and write notes on them. These Interpreting Good Luck-symbols on Musical Instruments: artworks became records of his travels. In addition to politics, these trips also Decorative Ornaments on the Heads of Pipas had art-related aspects. Here we are using text and picture sources to explore the emperor’s travels and his cultural activities. We have created a digital Klara HRVATIN, University of Ljubljana (klara.hrvatin@ff.uni-lj.si) map of his travels using the Geographic Information System (GIS) in order to connect the emperor’s art creations, major events, and hydraulic engineering The four-stringed lutes – pipas – in the collection of Ivan Skušek Jr., the largest projects. As a digital humanities exploration, we hope this technological, his-collection of Chinese artifacts in Slovenia, have ornamental and figurative rep-torical and geological project could help us to visualise the trips’ art-related resentations, the symbolism of which is challenging to interpret. Their heads and historical meanings. are decorated with a symbol of luck - a stylised bat and a decorative inlay of the mythological creature qilin, the symbolism of which penetrated Chinese history, folklore, religion and art very early. In this paper, two main objectives are pursued. First, we will analyse the motifs of the figural representations on the musical instruments studied – two Chinese pipas – to determine whether interpreting these motifs in a broader context of Chinese culture can provide insights into the musical instruments themselves, their provenance and their dating. Second, we will examine the characteristics of the symbols on the pipas and determine whether they have any special meaning when depicted on a musical instrument. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Taking a Virtual Trip to the Historic Sun Moon Lake Preserved “Representation”, “Mining” and “Indexing” in the lower left half belong to in Records – Building a Transmedia Museum Experience digital humanities research. Based on the Relevance Designing Framework Theory The author presents the ongoing research on digital humanities, taking the Yu-chun KAO, National Museum of History, Taipei meta data of cultural relics of the NPM as an example. First, through the meth- (kycjune10@gmail.com) od of data visualisation, the design of data structure, including: theme, vari-Zhi-yan LIN, National Palace Museum, Taipei (mick@npm.gov.tw) able, layering, grouping, etc. is processed, and different visual diagrams are presented, exploring the utility of visual analytics to enhance narrative con-In this paper, we’d like to apply a transmedia storytelling model to a mutent. Next, the author presents text mining methods, which include: automat-seum exhibition using digital technologies. Helped by human factors engi-ic classification, automatic summarisation, etc., proposes several automatic neering, we can enhance the viewers’ sense of embodiment and historical text analysis experiments, and discusses the research results. understanding. By using Section 2 of the National Palace Museum’s Rare Books and Documents New Media Art Exhibition of 2019 as an example, The author believes that investing in digital humanities research can both in-we can illustrate how to create a transmedia exhibition using digital tech-crease the depth and breadth of digital content materials, allowing digital ar-nologies based on the framework for designing relevance (trigger, engage, chives to be used and interpreted in a more diverse way, and promote new consolidate, and relate). This project was created by a cross-discipline team opportunities for museums to use open data. of historians, digital engineers, and museum curators. We shall investigate in detail how the digital technologies used by us, including geographic information system (GIS), virtual reality, and projection mapping, can be used to realise this framework. Above all, we extracted geographical information from palace memorials to create 3D images, using the GIS to help viewers to develop their own ability to explore and adopt a multitude of perspectives. In the last part of our research, by studying the audience behavior, we learned that multisensorial inputs generated by digital equipment could enhance audience engagement. Their interest in history- and geography-related topics increases. We even created an immersive environment where a 64 participant can virtually join a historical event. Our research has also shown 65 that a mixed exhibition can offer different information to people of different generations. A viewer can actively select the kind of information that he/she wants to obtain in order to experience, participate and then develop a personalised idea of the exhibition. Prospecting Museums Towards Digital Humanities Using Information Visualisation and Text Mining in Digital Archives Ting-sheng LAI, National Palace Museum, Taipei (samlai.taipei@gmail.com) Since the National Palace Museum started digitising its collections about 20 years ago, it has produced a large number of digital archives, including images and meta-data of cultural relics. In addition, based on the important mission of museum education, it also continues to develop many educational multimedia and handle related educational activities, such as: digital exhibitions, digital learning, etc., and has accumulated a large number of digital assets. Since 2016, the exhibition room has been opened for photography, and since 2017, work related to the “open data” policy has been implemented to encourage communities outside the NPM to use various the digital assets. The author uses a “9-box Grid Model” to analyse various dimensions of “digital curation” centred on “Digital Archives”. The upper right half of the dimensions such as “Display”, “Media”, “Education”, and “Document” mainly belong to educational tasks, while the dimensions such as “Visualisation”, The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Panel 12 Wed 16:00–17:30 to Europe by Marshal Alfred von Waldersee, who occupied Beijing at the be-Lecture room 13 ginning of the twentieth century. As both image and artifact, the scroll itself, New Perspectives in which depicts the hunt of a Mongolian rider by a Manchu soldier, is thus imbued with the experiences of colonialism (and its subsequent legacy within Contemporary Asian Art (I) Eurasian cultural history). Chair: Paper Tiger Studio, a Sino-German avant-garde theatre collective formerly Mia Dora PRVAN, independent scholar, London based in Beijing (but recently relocated to Berlin), have taken the famous (miadora.prvan@gmail.com) painting’s transcultural symbolism and history as their starting point in their latest performance, Revolution – The Wrong of an Arrow Shot. Characteris-Unintended Misunderstandings: A Case Study on the tically, director Tian Gebing uses the symbolic imagery of history – here the ‘Yugoslav Modern Art Exhibition’ in China in 1980–81 arrow (as illustrated in the scroll) – as an exploratory trajectory across centuries-old love stories and feuds, individual narratives and lineages, and inter-Yini YANG, Freie Universität Berlin cultural encounters. Thus, my paper investigates the intermedial combination (yini.yang@fu-berlin.de) of stage performance and the visual arts in order to unearth the handscroll’s The research will centre on the travelling exhibition “Yugoslav Modern Art problematic (postcolonial) history, and thereby tease out some of the pres-Exhibition” in China in 1980–81. The exhibitions were organised by the China ent-day implications for Sino-European relations. exhibition Corporation under the Culture Cooperation Agreement between China and Yugoslavia. They took place in official museums, chronologically the National Art Gallery in Beijing, the Shandong Provincial Art Museum in Jinan, and the Jiangsu Provincial Art Museum in Nanjing. Božo Bek, director of the Gallery of Contemporary Art, Zagreb, wrote the exhibition text and attended the opening with the National Ambassador Milica Ostojić. Despite the lack of the exhibition catalogue, the paper attempts to reconstruct the scenes based on the news reports and art journals published during and after the exhibitions. Exhibition works, texts, the spatial dimensions of the 66 67 exhibition, and the cultural and institutional structures involved will be discussed in order to reveal a mutual incomprehension between both sides. The spatial dimensions will be the focus of the analysis, respectively the display techniques and the architecture. To what extent did the spatial dimensions determine the way the works were viewed? And what consequences did such viewings have for the artworld in China in the early 1980s? Through focusing on the spatial dimensions, we can treat the travelling exhibition as a typical example of modernist art exhibitions in China’s reform era. And discussing the roles these exhibitions played or failed to play in the process of cultural modernisation thus becomes possible. Performing (Postcolonial) History: Paper Tiger Studio and the Eighteenth-Century Handscroll “Machang Lays Low the Enemy Ranks” Andreea CHIRITA, University of Bucharest (andreea.chiri@gmail.com) Currently on loan at the Museum of Asian Art (Berlin), the Qing Dynasty-era (1644–1911) handscroll Machang Lays Low the Enemy Ranks was commissioned by emperor Qianlong, but created by the Italian Jesuit artist Giuseppe Castiglione (Lang Shining) in 1759. As such, the work was informed by Chinese and European cultural and art-historical sensibilities. It also has an interesting provenance: before its current Berlin sojourn, it was initially housed in the Hall of Purple Glaze in Beijing’s Forbidden City before being trafficked The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Wednesday, 13 September 2023 (day 1) Thursday, 14 September 2023 (day 2) 68 69 The Third Conference of the European Association for Asian Art and Archaeology Panel 13 Thu 09:00–11:00 Panel 14 Thu 09:00–11:00; Lecture room 15 Lecture room 2 CANCELLED Collecting and Displaying Buddhist Art in European Museums before 1940 Chair and discussant: Lyce JANKOWSKI, Royal Museum of Mariemont, Morlanwelz (lyce.jankowski@musee-mariemont.be) Buddhist art was much favoured by European collectors at the turn of the 20th century. It could be found in private apart-ments of the aristocracy and also among the bourgeoisie. Taste for Buddhist art, following the Japonisme movement, gained traction with direct access to Buddhist temples, thanks to the massive expansion of travel to East Asia. How was the religious dimension of these objects approached in the act of collecting and in their display? This panel offers case studies on how religious sculptures and books were translocated from East Asian sanctuaries to European interiors and museums. The colonial aspect of translocation, studied by other scholars, will not be addressed.1 70 71 The panel aims to explore the various meanings bestowed on these objects in their collection and display in four European countries. Some of the questions addressed are: What was the original intent for acquiring a religious artifact? Who were the people who collected them? And how were they integrated in their new milieu? This panel introduces on-going research on Buddhist artifacts that arrived in Europe before the Second World War, now housed and/or displayed in public institutions. It questions their status as religious items, antiquities, curiosities and commodities. 1 See for example Louise Thytacott, The Lives of Chinese Objects: Buddhism, Imperialism and Display, New York, 2011. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) ‘In the Footsteps of the Buddha’: The Meaning of a Gift: Four Buddha Heads East Asian Buddhist Statues in Hungarian Collections in the Collection of Museum Volkenkunde Györgyi FAJCSÁK, Ferenc Hopp Museum of Asiatic Arts, Budapest Karwin CHEUNG, Vrije Universiteit Amsterdam (gyorgyi.fajcsak@hoppmuseum.hu) (K.c.cheung@vu.nl) The collecting of East Asian (Chinese and Japanese) Buddhist sculptures in Museum Volkenkunde (National Museum of Ethnology in Leiden, the Neth-Hungary has a history of more than one and a half hundred years. The first erlands) holds in its collection four Chinese Buddha heads dating from the collections, formed in the second half of the 19th century, were made by trav-Northern Qi (550–577) and Tang (618–907) periods. These four sculptural ellers and diplomats, etc. Drawing on contemporary written and pictorial fragments had been donated to the Government of the Netherlands in 1937 sources and collected materials, the paper outlines the main collections and by the Japanese businessman, collector, and politician Nezu Kaichiro¯ (1860– features of East Asian Buddhist statues in Hungary from the beginning to the 1940) and were part of a larger gift of 19 Buddhist sculptures from Nezu to 1910s. The presentation assesses the role of the spiritual, religious and philo-the Netherlands, Germany, Italy, and the United Kingdom. The sculptures had sophical trends which fostered the growing interest in Buddhism in Hungary. (for the most part) come from Tianlongshan, a cave temple site in Shanxi province, which had been first published only about two decades earlier, in Statues of two significant collectors (Ferenc Hopp and Count Péter Vay) are 1918, by the Japanese archaeologist Sekino Tadashi (1868–1935). On their the focal point. Ferenc Hopp (1833–1919) travelled round the world five arrival in the Netherlands these four heads were hailed as masterworks of times, visiting China and Japan three times (in 1883, 1903 and 1914) and Buddhist sculpture and were prominently placed in the National Museum of purchasing Buddhist statues there. He assembled a set of wooden statues of Ethnology; a stark contrast with the preceding misunderstandings and mis-Weituo dated to the 18th and 19th centuries, as well as bronze images which translations that occurred when Nezu first offered the four sculptures to the formed the core collection of the museum founded by him. Dutch legation in Tokyo. Count Péter Vay (1863–1948) travelled widely, visiting Roman Catholic missions In my talk I present the biographies of these four heads as they are translocat-throughout the world as a papal prelate. On his second visit to Japan in 1907 ed from Tianlongshan in China, via Japan, to the Netherlands, while tracing he had offered to collect and purchase artifacts on behalf of the Museum of how their meanings shift as they move through these different physical loca-Fine Arts, and the Minister of Religion and Education approved a sum of 20,000 tions and intellectual contexts. I show that this gift of Chinese Buddha heads crowns for this purpose. Although there are just 11 pieces of Japanese sculpture from a Japanese collector to a European state was situated on a convergence among the 2,337 items in his collection, this part of the collection is highly sig-72 of early 20th century art trade, imperialism, and diplomacy. 73 nificant and formed part of the first public Asian collection in Hungary. Atherton Curtis and his Chinese Collection at the Collecting and Exhibiting Buddhist Art French National Library: a Passion for Buddhist Arts? in Interwar Czechoslovakia Rui ZHANG, Institut français de recherche sur l‘Asie de l‘Est (IFRAE), Paris Michaela PEJČOCHOVÁ, National Gallery, Prague (rui.zhang@outlook.fr) (misa_pejcochova@yahoo.com) Atherton Curtis (1863–1943), a passionate collector of arts of American origin, Collections of Asian art emerged in Bohemia and Moravia (from 1918, Czech-recognised for his refined taste for graphic art, donated to the National Library oslovakia) already in the 19th century and later experienced a massive boom of France (BnF), in the 1930s, a considerable number of Chinese and Japanese in the interwar period (1918–1936). There were several collectors and deal-prints. Nevertheless, this collection remained largely in the shadows until it ers, such as Joe Hloucha, Josef Martínek, and Vojtečh Chytil, who travelled was brought back onto our horizon by a project jointly initiated by the Collège personally to the Far East and brought back large collections of Asian objects, de France (CdF) and the BnF. which they sold to their contemporaries. Curiously, Buddhist art played a significant role in their holdings and was much favoured by individual collectors I have been in charge of cataloguing and promoting the collection within who purchased items from their exhibitions. We would find it in the living the framework of an agreement between the CdF and the BnF since October rooms of citizens and the boudoirs of intellectuals and artists, as well as in 2022. Composed of a thousand items, the collection includes a large number the chateaux of wealthy aristocrats. The works of Buddhist art were, however, of Buddhist prints as well as Buddhist books (sutras, Buddhist apocrypha, often far from being recognised as objects of religious or cultural significance, album of illustrations of Buddhist deities, etc.) as their owners had but a faint idea of their original meaning and context of A close look at Curtis’s collection, but also at his (albeit rudimentary) invento-production. This paper will explore the uses of Buddhist objects in different ry, will allow us to better understand his practices as a collector, and to study kinds of interwar period collections in Czechoslovakia and elaborate on their his taste for Buddhism or Buddhist arts. In his collection, for example, there is interpretation, appropriation and idealisation in the hands of the collectors a certain amount of Buddhist “apocrypha”: is this due to the collector’s lack of of the day. knowledge, or was it a conscious choice insofar as these so-called apocrypha The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) had a wide circulation among the population and are part of popular beliefs? Panel 15 Thu 09:00–11:00 How has the perception of these items changed between the time they were Lecture room 4 collected and the present day, when it is hoped to bring them out of oblivion? These questions are at the heart of my reflections for this paper. Viewing the Kabuki Theatre Chair: Klara HRVATIN, University of Ljubljana (klara.hrvatin@ff.uni-lj.si) Art on Stage: Shift in Kabuki Costumes from Craft to Art Annegret BERGMANN, University of Tokyo (a.bergmann@mac.com) Professional Western and Nihonga style artists accompanied the modernisation of the kabuki stage from the end of the 19th century. Taking costumes as a metanarrative, this paper examines the painted designs of the costume of the courtesan Agemaki in the play “Sukeroku” to illustrate both the role of Nihonga artists in kabuki during the first two decades after World War II, when both genres were declared a doomed art, and also the implications this involvement of nihonga artists had for the kabuki stage aesthetic. Against the background of kabuki’s stylised conventionalised performance practice, ( kata) costumes were less an interpretation of text than a visual emphasis of the persona, stylised and standardised garments to support a vision of the play that underwent little change in its design once a play had been successful. This changed in the course of modernisation when professional artists entered the hitherto isolated world of kabuki as scenery and costume designers. 74 The paper will elucidate the way that the expression of the individual interpre-75 tation by the artists added a new aesthetic to the otherwise ukiyo-e dominated visuality on the kabuki stage. After World War II, leading artists like Maeda Seison, Takeuchi Seiho¯ and Hashimoto Meiji displayed their painting styles on the uchikake, a robe with trailing skirts worn over a kimono, for the then leading female impersonator Nakamura Utaemon VI in the role of Agemaki that elevated this costume into an individual artwork. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Actor Prints: Exploring Gender Representation Panel 16 Thu 09:00–11:00 in Kabuki Theatre Lecture room 13 Galia PETKOVA, Eikei University of Hiroshima Intermedial Dialogues Considered today a classical theatre, kabuki was the most popular entertain-Chairs: ment for the common people during the premodern or Edo period (17th– Julie NELSON DAVIS, University of Pennsylvania 19th century). It developed as a major form of pop culture, influencing almost (jndavis@upenn.edu) Gennifer WEISENFELD, Duke University, Durham every form of cultural production, including art. Numerous actor prints, yak- (gennifer.weisenfeld@duke.edu) usha-e, were created, depicting artists’ portraits, performance scenes and other elements of the theatre world, which these images successfully advertised. Due to its immense popularity, kabuki played an exceptionally important role Too often, scholars in art history still address artworks siloed in defining, maintaining and subverting the perceptions of gender in premod-into discrete media. They assess paintings within painting tra-ern Japanese society, especially the concepts of ideal femininity and masculin-ditions, how prints beget prints, and so on. Or they consider ity. Performed only by men, after women were banned from the stage, kabu-multimedia ensembles that produce orchestrated total envi-ki developed detailed techniques (acting patterns, kata) for embodying the various male and female role types, both plausible and exaggerated. Whilst ronments. But what about artworks in one medium that re-some of these kata might have been preserved until today, due to the lack of spond to the material or sensorial aspects of another, funda-sufficient textual sources it is mostly the yakusha-e that give us an idea how mentally transforming their intrinsic nature? Graphic design kabuki was performed in the past. This paper examines yakusha-e related to that embodies music or prints that incorporate the painterly? one specific sub-genre of kabuki plays: the rewriting of popular male charac-These intermedial dialogues offer a fruitful area of aesthetic exters as women. Regularly staged, particularly in the nineteenth century, these ploration into both the inherent medial quality of such works plays were gradually abandoned in modern times. By exploring yakusha-e of Onna Narukami (Female Narukami), Onna Shibaraku (Female Shibaraku), and how they push the boundaries of their various mediums. Onna Danshichi (Female Danshichi), and Shiranami gonin onna (Five female Such explorations will also produce a better understanding of dandy-thieves) in juxtaposition with their male originals, the paper seeks to intermedial intervals – places in between two modalities that 76 unravel the implications of these images for gender representation on the conjure new sensory spaces. One area that papers might ex-77 premodern stage, compared to kabuki today. plore is the phenomenon of synaesthesia where stimulation of one sense or mode of cognition triggers another sensorial pathway. Another important question is how two-dimensional artwork engages time-based media such as film or music. As art historians are increasingly embracing the full sensorium in their analyses, we seek to bring these discussions to bear on questions of media and modality to expand our understanding of art’s generative capacities. Replica and Model: The Brush in the Printed Book Julie NELSON DAVIS, University of Pennsylvania (jndavis@upenn.edu) Often when we open an Edo-period printed book, we marvel at illustrations that look like paintings or at handwriting that looks so much like calligraphy. Some look so much like brushed ink on paper that we might pause and ask: is it really printed? The swells and drags of the brush preserved in print the movement of the hand, alluding through the illusion to the intentions of the artist. Some model the brush so fully that they came to define artistic style and authorial gesture. These intermedial calls demonstrate that for their makers and viewers, woodblock printed books served to represent these other media, perhaps even functioning like simulacra of their originals. Looking at exam-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) ples where verisimilitude is sought, as well as interrupted, this presentation Cinematography of Writing: will explore intermedial dialogues between brush, block, baren, and paper, Films by Japanese Avant-Garde Calligraphers querying the limits of illusionism. How these books functioned, too, in later replications, raises important issues around the status of the original and the Eugenia BOGDANOVA-KUMMER, University of East Anglia, Norwich implications of the brush made multiple. The connection between the media of film and calligraphy emerged in Japan with the country’s growing technological ambition, along with the changing roles the traditional arts such as calligraphy played in Japan’s cultural land-Under the Autumn Leaves: scape. In the postwar period, avant-garde calligraphers ventured to reimagine Dancing with Politics in Medieval Genji Illustrations their art and initiated collaboration with artists working across the media, and across the globe. To present the art of calligraphy as fit for the new era, they Trevor MENDERS, Harvard University (tmenders@g.harvard.edu) paid particular attention to film, and explored the potential affinities between writing and filming. By closely looking at films produced by Japan’s leading Some of The Tale of Genji’s most celebrated scenes spill much ink describ-postwar avant-garde calligraphers, Morita Shiryu¯ (1912–1998) and Hidai Nan-ing dance performance. Present scholarship understands these passages as koku (1912–1999), this paper examines the ways they adopted the camera as primarily indexical of court customs in the age of the novel’s author, Lady a tool to highlight calligraphy’s temporality and performative expression, as Murasaki Shikibu (c. 973–c. 1014). Close looking at the specificity of medieval well as to develop collaborations with international artists. Using their cam-Genji painting, however, hints that the function of these dance passages is to eras, Morita and Nankoku attempted to update the image of calligraphy as a augment the text’s political implications. With a series of Tosa-attributed illus-modern phenomenon which goes along with and not against technological trations of the Tale from the fifteenth, sixteenth, and seventeenth centuries, progress, bringing to the spotlight the aspects of their art form that resonated this paper explores how depiction of the bugaku dance Seigaiha “Blue Sea with modern art audiences. Waves” for Chapter Seven “Under the Autumn Leaves” articulates the Tale’s focus on righteous Buddhist kingship – a long-established aspect of its exeget-ical tradition – and examines why dance imagery might have flourished as an index for this chapter in the novel’s original writing and in its later painting. In so doing, the paper begins to untangle the tightly bound histories of the visual and performing arts in premodern Japan and understand how each inflects 78 the other in both form and meaning. 79 Saitō Kazō’s Rhythmic World in the Sonic Landscape of Modern Japan Gennifer WEISENFELD, Duke University, Durham (gennifer.weisenfeld@duke.edu) The work of celebrated Japanese designer Saito¯ Kazo¯ (1887–1955) encompassed a staggering array of design forms including: clothing, furniture, the decorative arts, theatrical stage design, costumes, and the graphic arts. Desta-bilising the persistent binary between East and West, Saito¯ played an important role in defining Japan’s modern design movement, and his work illuminates the proliferation of new creative hybrid forms across the field. Aesthetically, he imagined a new Japanesque world comfortably situated in modernity but unmistakably inflected with the local colour of Japaneseness. And as a prolific musical composer, Saito¯’s rhythmical conception of Japaneseness incorporated a range of senses beyond the visual. This paper will specifically examine Saito¯’s prolific work designing sheet music covers for popular songs issued by Japan Victor in the interwar period. In these colourful and exuberant works that speak of a new urban experience, Saito¯ reconfigured his design world to merge the visual and auditory senses, immersing the viewer in modern Japan’s sonic landscape. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Panel 17 Thu 11:30–13:30 Grave Goods in Times of Social Turmoil Lecture room 15 Melanie JANSSEN-KIM, Independent scholar, Wilhelmshaven Bronze Objects in Early (janssen.melanie@googlemail.com) Medieval East Asia Differences in mortuary contexts are significant markers of distinctions between culturally similar groups on the Korean peninsula. They are still evi-Chair: dent during the formation of the Three Kingdoms polities of Silla, Kaya and Margarete M. PRÜCH, CATS, Heidelberg University Paekche. (sino@pruech.de) From the fourth century BC, mainland Chinese material culture was imported into the northern part of the peninsula. Metal objects in Korean burials Studies of East Asian bronze have been concentrated on the show the influence of Han Chinese traditions on the Korean peninsula, while ubiquitous ritual vessels in Shang and Zhou China as well as the inclusion of traditional bronze objects in burials still prevailed during the the magnificent and monumental statues of Buddhas and Bo-Bronze Age Mumun Period. dhisattvas of the Silla and Nara/Heian periods in Korea and Ja-But how can the use of metal objects in grave contexts be described, and how pan. There is however little information about bronze after the did their use change during the consolidation period? Were objects made of decline of the great Bronze Age in China and before the rise bronze and iron used for self-representation or were they part of a wider net of the new great age for bronze artwork in Korea and Japan. of burial traditions influenced by local and Han Chinese customs? And what This panel focuses on the much-neglected topic of bronze ar-was their connection to the changing sociopolitical structure of the Three Kingdoms? Another important aspect of grave goods is the different develop-tifacts in East Asia during a period of political, economic, and ment of the use of bronze and iron in burials. Was this due to their function in social upheaval between the third and seventh centuries, en-the societies, or to their meaning in a cultural context? Did they fulfil different compassing the Six Dynasties in China, the Three Kingdoms in purposes or was the sociopolitical structure of the societies that used them a Korea and the Kofun period in Japan. The main purpose is to different one? The presentation tries to answer these questions based on the explore the roles of certain bronze artifacts and to assess the analysis of burials from the late Bronze and early Iron Age through the Three Kingdoms period on the Korean peninsula. 80 position of bronze/copper-alloys as material of interest in indi-81 vidual societies during this period of disunity and look for su-pra-regional common trends and inter-state communications Gilt Bronze Belt Fittings of the Middle Kofun Period in Japan and interactions. Yasutaka FUJII, National Saga University This will be achieved by bringing together historians and ar- (fujiiyas@cc.saga-u.ac.jp) chaeologists specialising in Japan, Korea, and China in one This paper will focus on a certain type of gilt bronze belt fitting that appeared panel to discuss their research on individual objects as well as in Japan in the latter half of the 5th century: with hookless buckles and belt plaques “Kua (銙)” embellished with motifs of divine beasts in relief. to evaluate bronze findings in tombs. The results will offer a better and broader understanding of bronze usage in the pan-A type of belt plaque of the same design is found in both the Japanese ar-East Asian zone in a period when bronze had seemingly only chipelago and the Korean peninsula during the same period. But the buckle played a minor role. structures of those from the Japanese archipelago and those from the Korean peninsula are completely different. There are two possible explanations for this observation: the bronze belt fittings of this type in Japan originated either from the Korean Three Kingdoms, or from the Chinese Southern and Northern Dynasties. This paper proposes that the latter is more probable and argues that the bronze belt Kua plaques of this specific design and their craft are an archaised style based on Han archetypes. Notably, these bronze belt fittings of this type are one of the few indications of interaction between the Chinese Liu-Song (劉宋) Dynasty and the Japanese Wo (倭) polity. And the fact that these metal belt fittings of Kofun Japan and the Korean Three Kingdoms possess Kua belt plaques of the same decorative design but different buckle structures may indicate that some were products The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) of the Southern Dynasty Liu-Song and others were their imitations. This as-Tang dynasties to abolish golden and silver seals with animal-shaped knobs. pect is important in considering the spread of Chinese cultural relics in anThe seal makers, nevertheless, inherited the three-mould method, with which cient East Asia. elaborate seals solely of bronze were made in the Sui and Tang and the eastern countries influenced by them: Silla and Nara, Japan. Bronze or Iron? Mirrors in Six Dynasties Tombs Copper-based Objects during the Northern Dynasties Annette KIESER, University of Münster (annette.kieser@uni-muenster.de) (4th–6th Centuries): A General Survey During Southern China’s Six Dynasties period (220–589), bronze as material Shing MÜLLER, Ludwig-Maximilians-University of Munich (shing.mueller@ostasien.fak12.uni-muenchen.de) for grave goods was less frequently seen than in the preceding Han dynasty. On a small scale, bronze continued to be used for objects where its metallic After the fall of the Western Jin Dynasty in 316, bronze artifacts disappeared qualities were best suited: for heating, such as flatirons or wine warmers, or largely from burials in northern China. The only remains are small-sized perfor reflecting surfaces, such as mirrors. One of the casting centres of the latter sonal or furniture adornments such as hair pins, earrings, rings, belt fittings, was the mid-Yangzi metropolis Wuchang (modern Echeng). But even in this joints for boxes, doors, and handles, etc. Bronze mirrors, vessels and oth-area the number of bronze mirrors in tombs diminished gradually. What is er larger artifacts have thus far only been sporadically discovered, either as more, mirrors were increasingly cast in iron, a material mainly used for agri-heirlooms or in personal antique collections. Not only mirrors, but also caul-cultural tools, instead of bronze. drons, the most characteristic cooking utensils of bronze on the steppe, were replaced by iron versions. Almost no new series of coins were cast during the An analysis of the Six Dynasties mirror findings in tombs, their number and whole Northern Dynasties period, and the trade was dominated by barter. Po-their placement will demonstrate the fate of mirrors as grave goods during litical and economic instability as well as the shortage of copper in northern the 250 years under discussion. Great differences become evident not only China were arguably responsible for the drastic decline of bronze utensils. between their usage in the capital Jiankang (modern Nanjing), and in other parts of the realm, but also during this time span. Also, the question arises Recent findings reveal that during the 6th century, copper-based objects re-ap-whether the usage of bronze or iron can be attributed to the gender, or status peared in tombs in certain regions. Many appeared to be used in Buddhist of the deceased. rituals. Though few in number, they indicate a new development in bronze or 82 copper alloy products. This presentation gives a preliminary overview of the 83 poorly researched artifacts of bronze or other copper alloys in order to give a Casting Methods of Official Seals in the Northern better understanding of the copper-based products of the period, their appli-and Southern Dynasties cation, and, if possible, their production. Yukinobu ABE 幸信 阿部, Chuo University, Tokyo (yukiabe@tamacc.chuo-u.ac.jp) Casting methods of early metal official seals, including bronze ones, have sel-dom been the focus of research. One of the striking phenomena is the change of forms during the Northern Dynasties: seal knobs not only grew higher and larger but also became more elaborate in shape. By contrast, seal knobs of the Southern Dynasties were not so much enlarged but became even simpler than those of Han times. This paper seeks an answer for the distinctive regional developments. According to my observations, this difference stemmed from the casting methods of gold, silver, and bronze seals. The Southern Dynasties’ seals were cast using only one single mould or two horizontal moulds, and craftsmen needed to remove burrs inside the seal hole and smooth its surface. On the other hand, most seals in the late Northern Dynasties period were cast with at least two vertical or several vertical and horizontal moulds, which resulted in the well-made realistic animal-shaped knobs. And a hole with enough space for thread-ing a long sash easily was saved between a knob and a seal body. However, this new northern casting method was consuming of time and effort and also costly. These could have been the factors that drove the Sui and the The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Panel 18 Thu 11:30–13:30 Love was secretary to the US Ambassador to China where he met his future Lecture room 2 wife, Audrey. Audrey’s uncle Solomon Guggenheim founded the Guggenheim Asian Art in the West: Collecting Museum of New York. Mr. Love’s gifting and collecting intersects in timely ways related to his own success on the New York Stock exchange. Activities and Their Influences The second case study will discuss the extraordinary history of Alberta Brown Chair: Murphy (1910–2005) and Jay W. Murphy (1911–1992) – two law professors, Nixi CURA, University of Glasgow practising attorneys, civil rights activists and humanitarians prominent in Al- (Nixi.Cura@glasgow.ac.uk) abama. In 1966, Mrs. Murphy held a Fulbright Scholarship in Korea lecturing at the prestigious Seoul National University and Ewha University. The cou-Bronze Gifts at the Buddhist Temple: The Bellot Collection ple jointly wrote the book “Legal Profession in Korea” traveling extensively of Chinese Bronzes at Manchester Museum through South Korea where they collected Korean art, gifted by their children to the Museum. Jose CANTON-ALVAREZ, University of Lodz (jose.canton@filhist.uni.lodz.pl) This paper aims to examine bronze artifacts in Buddhist temples during the A Russian Tea-Tzar’s Treasures: Konstantin Popov’s Ming and Qing dynasties, by critically appraising the Thomas Bellot Collec-Collection of Far East Ceramics (1880s–1900s) tion of Chinese Bronzes at Manchester Museum. Retrieved from the Buddhist temple complex at Mt Putuo in the wake of the Opium Wars, the bronzes in Anna Alekseevna EGOROVA, State Museum of Oriental Arts, Moscow (aegorova@orientmuseum.ru) the Bellot Collection shed light on the multifaceted role bronze items played In the 1880s–1890s, a Russian tea-tycoon, Konstantin Popov (1850–1919), in the ritualistic and social life of Buddhist communities in early modern Chi-who came from the family of the most prominent tea-dealers and philan-na. Devoted to the cult of the bodhisattva Guanyin, the temple at Mt Putuo thropists of the second half of the 19th century, assembled an outstanding became an important centre of pilgrimage during the Ming and Qing periods, collection of Far East ceramics. Intending to establish new tea-plantations in attracting donations from members of its surrounding communities and be-Georgia, he explored the tea agriculture of India, Sri Lanka Island, China and yond. Over time, these donations supplied the temple with bronze gifts of Japan during his journeys in 1889, 1891 and 1893. His collection of Chinese assorted typology. Some of these, such as censers statues, were openly dis-84 and Japanese objects, mainly related to the tea culture, became a lateral result played in rituals and ceremonies, and their designs were informed by the 85 of his business trips. Guanyin cult as well as other Chinese religious background (especially Taoist). Conversely, other bronze items, particularly mirrors, were delivered to Mt In 1919 it merged into the collection of the newly established State Museum Putuo monks as private gifts, providing us with insights into the community of Oriental Art in Moscow. No one could trace the c. 120 items of 13th–19th networks operating around Mt Putuo. This paper offers a comparative study century Chinese and Japanese ceramics that once belonged to Popov. of the Bellot bronzes with other collections of bronzes in the UK, intending to find commonalities and differences between the role bronze items played in Due to the Soviet museum system, Popov’s ceramics were integrated into religious institutions in early modern China. the museum collection and never studied as a body. My research related to the “Five Elements of Tea” exhibition, dedicated to the 500th anniversary of Sen-no Rikyu (August-September, 2022), allowed me to attribute a substantial Bringing the Far East to the US Southeast – Case Studies number of Japanese tea ceremony utensils with a signed and dated work by from the Birmingham Museum of Art, Alabama USA Ogata Kenzan as a highlight. Katherine Anne PAUL, Birmingham Museum of Art, Alabama My further research looks into Popov’s strategies both as a collector and busi- (kapaul@artsbma.org) nessman. It will be based on archival materials and the press, with the goal of Since its founding in 1951, the mission of the Birmingham Museum of Art has reconstructing the original body of the collection, attributing other significant been to showcase global collections. This founding period is roughly contem-works from it and finally allotting Popov’s masterpieces their true place in the porary with that of New York’s Asia Society and the Norton Simon Museum of history of collecting Far East ceramics in this country and in the world. Pasadena, California. All three institutions were fuelled by not only the robust post-WWII economic growth but also a greater interest in and understanding of global art and culture than ever before. This paper will present two intriguing case studies for east Asian collecting histories of the Museum. The first case will review the gifts of Mr. Cornelius Ruxton Love Jr. (1904– 1971). In the 1950s Mr. Love, a Yale graduate from a wealthy Brooklyn family, gifted some extremely fine and rare Chinese artworks to the Museum. In 1926 The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Capturing the ‘Undulation of the Dragon’: Developing Panel 19 Thu 11:30–13:30 Concepts of ‘Chinese Paintings’ in the Late Nineteenth Lecture room 4 Century through Two Collections at the British Museum and the Museum of Fine Arts Boston War and Unrest in Artistic Expressions Yitao QIAN, SOAS, University of London (yq4@soas.ac.uk) Chair: In 1880, Professor William Anderson (1842–1900) returned to London after a Beatrix MECSI, Eötvös Loránd University (ELTE), Budapest six-year-long service in Tokyo as a Professor of Anatomy and Surgery. One year (mecsi.beatrix@btk.elte.hu) later, a young American surgeon, William Sturgis Bigelow (1850–1926) arrived in Tokyo. Apart from having similar experiences as early Western doctors ven-Japanese War Paintings, Intra-Empire Travels, turing to Japan soon after the Meiji Restoration, both Anderson and Bigelow and ‘Grassroots Fascism’: Okada Kenzō and Kawabata discovered their true passion in collecting Japanese prints and drawings. In Minoru during the Second World War addition to purchasing Japanese artworks, they also bought a number of ancient and modern Chinese paintings, aiming to, in the words of Anderson, Kimihiko NAKAMURA 公彦中村, Heidelberg University ‘demonstrate the relationship between the arts of the sister empires’ in their In the existing literature and museum surveys on Okada Ken-collections. When the Anderson and Bigelow collections were acquired by the zō (1902–1982) and Kawabata Minoru (1911–2001), the impact British Museum and the Museum of Fine Arts Boston respectively in the late nineteenth century, their Chinese paintings became the specimens through of the war on their art has too often been downplayed, and the which Western scholars and connoisseurs began to systematically study the focus has predominantly been on their abstract paintings that pictorial art of East Asia. This paper will critically compare the collecting his-garnered appreciation and recognition in postwar New York. tory and the reception history of the two collections. It will investigate the Kawabata’s wartime experience in particular was not much re-transfer of knowledge about Chinese paintings among various actors, includ-vealed by the painter himself after the war, nor have the details ing British, American, and Japanese collectors, connoisseurs, curators, and been studied by scholars to date. scholars. By doing so, the paper will examine the development of conceptual understanding of Chinese paintings in the West. It highlights the important By closely mining the resources of wartime newspaper re-86 role of Japanese expertise in networks of knowledge that were built to ad-87 ports, this paper uncovers Okada and Kawabata’s involve-vance the study of Chinese painting. The paper reveals the influence of Japan ments in Imperial Japan’s war propaganda painting ( sensō- in the construction of aesthetic appreciation for Chinese paintings in the West. ga). Okada avoided conscription but he enjoyed ‘intra-empire travels’ to Manchukuo in 1941 and 1942. After returning from Manchukuo, Okada produced three war paintings in Tokyo including First Step of Landing in Singapore (1944). Kawabata, on the other hand, served in the military to document Imperial Japan’s Southeast Asia campaign in 1942 and 1944–1945. Okada re-stimulated the people’s will to fight in 1944, when Japan’s war situation was gravely deteriorating, by depicting a scene from the 1942 conquest of Singapore, a symbol of Japan’s victory, while Kawabata erroneously reported to the Japanese mainland public that the Japanese forces were successful in Indonesia and the Philippines. This paper concludes by arguing that evidently, both men spent the wartime as agents of what Yoshimi Yoshiaki has called ‘grassroots fascism’ ( kus-anone no fashizumu) by emboldening the mass culture that underpinned Emperor Hirohito, the fascist regime, colonial expansion, and the war. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Visualising Counter-Enlightenment in Early Meiji Japan Wenhan, who was in charge of the process of making this painting. In terms of content, it consists of battle scenes from the album but does not reflect the Amin GHADIMI, Osaka University real battlefield scenes as much as the album does. The contribution of general (amin.ghadimi.hmt@osaka-u.ac.jp) Fu Kang’an and the Qing cavalry is emphasised. Regarding form, it is designed This paper uses visual sources and art-historical methods of ekphrasis to make to be easier to understand and remember. By observing its content, form, and an argument about the global intellectual history of early Meiji Japan. It sets relation to Wucheng Hall, a building in the back of Ziguangge, I argue that this out to claim that a counter-enlightenment emerged in the Japanese 1870s, painting not only highlights the imperial power and military strength of the known as the era of bunmei kaika, or “civilisation and enlightenment.” It Qing, but also indicates the self-exhortation for the emperor to be prepared takes as evidence the Shinpu¯ren Rebellion of 1876, a violent uprising by dis-for a war at any time or make every effort to win a war. As a result, I hope to affected samurai in Kumamoto. The Shinpu¯ren counter-enlightenment con-identify Qianlong’s attempt to employ wall paintings as a different artistic me-jured the Japanese “enlightenment” as soulless, overly rationalistic, scientis-dium so that his martial achievements could be more widely publicised. tic Westernism that had corrupted an essential Japanese emotional aesthetic. Advocates of the enlightenment benefited from this hostile depiction, doubling down on this false binary and presenting themselves as progressive and In Search of Scenic Beauties in Southwest China: forward-looking as opposed to their hidebound adversaries. This imagined Tourism and Representations of Landscape during dialectic between enlightenment and counter-enlightenment reflected similar the Sino-Japanese War (1937–1945) trends that unfolded in France and Germany after the French Revolution. Pedith Pui CHAN, The Chinese University of Hong Kong Whereas intellectual historians have used textual evidence to examine the (pedithchan@cuhk.edu.hk) “counter-enlightenment” in Europe, this essay draws from visual art to reveal In 1937 the Nationalist government relocated the capital from Nanjing to how a wide range of Meiji actors sought to present their world as a struggle the southwestern city of Chongqing due to Japan’s invasion of China, in the between enlightenment and counter-enlightenment. It looks at nishiki-e and process causing the population to migrate and moving substantial resources other forms of popular, didactic visual art that purported to depict the Shin-westward. Among the displaced population were members of the art world pu¯ren Rebellion, showing how artists represented the violence of the Shin-with various backgrounds from the southeast coastal cities. The relocation pu¯ren as an emotional, colourful, heroic, and indigenous backlash against the created exceptional conditions under which the artists were able to travel to monochromatic, boring, stilted, Western Meiji armies. Art itself, as an imagi-and explore the scenic areas of the southwest. While some artists depicted 88 native, “spiritual” medium, represented the very essence of the counter-en-the devastating effects of the war in their artworks, others embraced tradition-89 lightenment critique of the enlightenment: the medium was the message. The al landscape aesthetics in idealised portrayals of scenic landscape, in effect paper supplements these visual depictions with textual evidence from news-expressing nationalistic sentiments metaphorically. Wartime China provided papers to reveal how art thus played a constitutive role in creating the imagi-complex sociocultural circumstances that conditioned artists’ landscape pernation of “counter-enlightenment” in early Meiji Japan. ceptions of the exotic wildland in southwest China. Sun Fuxi claimed that “elegant rivers and beautiful mountains”, the conventional criteria of scenic landscapes, were necessarily altered during the war. Encountering the “exot-Image Source and Production Intention of the Painting ic” wilderness of the southwest, artists developed new landscape aesthetics of the Taiwan Campaign 台湾全图 in the Wucheng Hall and styles. Scenic sites in the southwest, such as Jialing River and Mount Qing-during the Qianlong Period cheng, became popular attractions to the artists, being imagined and repre-Jingyuan ZHANG 晶元张, Central Academy of Fine Arts, Beijing sented in photographs and paintings. Simultaneously, the genre of landscape (zjy1118@cafa.edu.cn) painting aestheticised and civilised the wilderness of the southwestern scenic A series of large-scale wall paintings (tieluo hua) describing panoramic battle sites. Situating the visual representations of southwestern scenic landscape scenes were produced during the late Qianlong period. These wall paintings in the context of wartime China, this paper explores the discourse of tour-play an important role in the construction of the visual culture of martial arts ism, visual arts and national imagination with the aim of contextualising and for the Qing palace. At least three of them were made during the Qianlong unravelling the multi-layered meanings attached to travel and scenic sites in era: “Painting of the Taiwan Campaign (台湾全图)”, “Painting of the Annan wartime China. Campaign (安南全图)” and “Painting of the Gurkha Campaign (廓尔喀全图)”. Academic discussions on them are quite limited, compared to albums and copperplate engravings of battle scenes. The study aims to explore the making process, content, form, and function of these wall paintings. Therefore, detailed research on “Painting of the Taiwan Campaign” as an example is conducted, and this painting is also carefully compared with the corresponding album, “Album of Taiwan Campaign (平定台湾战图册)”. The painter is Yao The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Panel 20 Thu 11:30–13:30 the political event – “Wang Anshi Reforms” and the art-historical event – “the Lecture room 13 formation of orchid theme in painting” under a phylogenetic perspective. This Painting and Calligraphy paper will start with a literature investigation with a specific focus on the first-hand texts referring to the orchid painters and orchid paintings of the North-in Imperial China ern Song dynasty (960–1127), by which it was proved that orchids were for the first time represented in the painterly practice of a literati group centred Chair: on Su Shi (1037–1101) and Huang Tingjian (1045–1105) who suffered under Minna TÖRMÄ, University of Glasgow (minnakatriina.torma@glasgow.ac.uk) political factions resulting from the Wang Anshi Reforms. Furthermore, this paper will state that similar political encounters between Qu Yuan (343–278 BCE) and this literati group caused an increasing focus and a strong sense of A Case of Mistaken Identity: An Ink Chrysanthemums empathetic identification with Qu Yuan. Finally, this paper demonstrates that Painting Attributed to Xiang Shengmo (1597–1658) this literati group elucidated their lamentations on misfortunes and the criti-and Its Historical Significance cism of the political situation they faced by representing orchids which served Alice BIANCHI, Université de Paris Cité as the symbol of Qu Yuan and crystallised Qu Yuan’s loyalty and misfortune in (alice.bianchi@u-paris.fr) their painterly practice. It is in this way that orchids turned into a new subject The focus of this paper is a handscroll of ink chrysanthemums attributed matter in Chinese art history. by signature to the famous Xiang Shengmo (1597–1658) and composed for the Fujianese collector Yu Xu (1628–after 1697), who at the time was living in Nanjing, the centre of Ming loyalists ( yimin, “leftover subjects”) during Affirmation of Dominion: The Hongwu Emperor’s Imperial the second part of the 17th century. I will first reattribute this painting, by Portrait in the Context of Post-Mongol China pointing out details suggesting that the handscroll has suffered tampering Hui FANG, Institute of Fine Arts, New York University and modifications in the centuries following its creation, and by presenting (hui.fang10@proton.me) various pieces of evidence proving that it is the genuine work of a less faThe image of the founder of the Ming dynasty, Zhu Yuanzhang (r. 1368–1398), mous master of the time, whose true identity was disguised by a later dealer. has been clouded by a few intriguing anecdotes on his grotesque appear-By examining a series of colophons attached to the handscroll, composed in ance, leaving his official imperial portrait, now in the collection of the Nation-90 1659–1660 by some of the most eminent Ming loyalists of the time–including al Palace Museum in Taipei, largely unexamined. My paper investigates this 91 the scholar Huang Zhouxing (1611–1680) , the publisher Hu Zhengyan (1584– impressive painting as an important pictorial document (as well as an artistic 1674), the painter Zha Shibiao (1615–1698) and the Buddhist monk Xiaofeng creation) within its trans-dynastic context. I argue that the visual rhetoric and Daran (Ni Jiaqing, 1589–1660) – I will then argue that although the painting is political symbolism of the portrait speak to the Ming founder’s self-identifica-not by Xiang Shengmo, it is, nonetheless, an important work, emblematic of tion as both “the emperor of China” and “an emperor ruling over China after the pivotal moment of shift of the yimin community from a position of active the collapse of the Mongol Yuan dynasty”. resistance towards the recently established Qing dynasty to a condition of passive resistance to the new rule, symbolised by a lifestyle of social and political withdrawal . As the expression of gloomy loyalist sentiments, the scroll and its Understandings of Style: Early Medieval Calligraphy colophons bear witness to the ways in which artists and scholar-officials living in Later Chinese History through the dramatic Ming-Qing transition used painting, calligraphy, and poetry to cope with the cataclysmic disruptions that ensued the fall of the Ming Erjia LI, University of Glasgow (2547043L@student.gla.ac.uk) by inventing new identities and creating a network of “remnant subjects”. The calligraphy of stone inscriptions in north China dating from the sixth century is a useful tool for understanding how styles have been variously in-A Study on the Formation of Orchid Theme terpreted in later Chinese history and how opinions have undergone shifts during the Northern Song China (960–1127) over the centuries. Connoisseurs of Chinese calligraphy have attached great importance to the analysis of stone inscriptions in order to establish artistic Qian ZHAN, Free University of Berlin and aesthetic standards for evaluating their quality. Stone inscriptions of the (zhanqian@zedat.fu-berlin.de) Northern Dynasties display a variety of calligraphic styles, including what we Several orchid paintings executed in Song China (960–1279) and preserved might now classify as clerical script, regular script, and likai script. However, today suggest orchids served as a significant painterly motif during the Song it can be difficult to classify certain inscriptions of this period into one of dynasty. However, the process of the formation of the orchid theme in paint-the styles recognised today. Therefore, the styles of these inscriptions may be ing has not been discussed at an academic level yet. By examining the histori-praised or criticised due to what are perceived as “irregularities”. For example, cal context, this paper is aimed at relinking the historical connection between some styles used in these inscriptions were criticised by Song antiquarians for The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) their “uneven” nature, but later praised by Qing scholars as a significant cul-Panel 21 Thu 15:00–16:30 tural achievement. In addition to changes in taste, sociopolitical circumstanc-Lecture room 15 es can also provide important contexts for understanding these differences. This paper will examine these styles and the various perspectives of later con-Inscriptions on Chinese noisseurs to demonstrate how interpretations of stone inscriptions have been Lacquer Artefacts impacted both by the categorisation of styles and by the shifting contexts of interpretation. Chair: Annette KIESER, University of Münster (annette.kieser@uni-muenster.de) High-quality lacquer objects had been furnished with inner and/or outer inscriptions since the period of the Warring States (475–221 BC), although these vary widely in terms of length and content over the different epochs. Next to symbols, single numbers, or quality marks, many lacquer objects bear detailed inscriptions which provide insights into the manufacturing process, the raw material used, the value of the object and the place and time of production. Often, also, the names of the lacquer workshops or the lacquer craftsmen and artists are given. Inscriptions on lacquer objects, however, also give insight into the afterlives of objects and provide information about the identity and ideas of their owners and collectors. This panel explores the layers of meaning of lacquer inscrip-92 tions through three selected examples from the Han, Song, 93 and Qing dynasties. In her paper, Margarete Prüch will reappraise the value of lacquerware during the Western Han Dynasty (206 BC–9 AD) focusing on inscriptions on lacquer objects from regional and private workshops which have recently been excavated from the tomb of the Marquis of Haihun (92–59 BC). Patricia Frick’s presentation will look into typical inscriptions on Song dynasty (960–1279) lacquer objects and work out their specific characteristics and informative value. Zhan Zhenpeng’s paper investigates imperial poems with Emperor Qianlong’s seals and marks inscribed on Ming (1368–1644) official lacquerwares, which reveal their afterlife in eighteenth-century China. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Inscriptions on Song Dynasty (960–1279) Lacquerware Poetic Inscriptions and Afterlives of Ming Lacquerware at the Qing Qianlong Court Patricia FRICK, Museum of Lacquer Art, Münster (patricia.frick@basf.com) Zhenpeng ZHAN, Sun Yat-sen University, Guangzhou Inscriptions on Song dynasty lacquer objects provide information about thriv-Inscriptions on objects mark the identities and ideas of their makers, owners ing production institutions, manufacturing centres and commercial activities. or collectors, and this is no exception in lacquerware. This paper situates the They illustrate the splendour of the art and craft of lacquerware at the time. agency of the Qianlong emperor (r. 1736–1795) as an imperial collector as Many Song lacquer objects recovered from archaeological excavations or pre-well as his rhetoric and artistic strategies in the politico-cultural appropriation served in private collections and museum holdings bear detailed inscriptions of imperial art collections by focusing on a case study of carved lacquer, the that specify not only the date and place of production, but frequently also most labour-intensive and time-consuming decorating genre in the lacquer in-provide information about important workshops and famous Song lacquer dustry. More specifically, the paper investigates the role of Ming (1368–1644) masters. In most cases, the characters of the inscriptions were placed in a official carved lacquer, as part of pre-Qing antiquities from the Forbidden City. prominent position along the outer walls or on the underside of the vessel, The focus will be on the material and visual culture in the Qianlong court, in always in red lacquer on the black lacquer ground. Most of the inscriptions the light of Ming and Qing official works as well as the imperial workshop ar-use ganzhi characters to record the date of production. This paper will look chives. Examined through the text-image interplay, imperial poems inscribed into typical inscriptions on Song dynasty lacquer objects, work out the specific on Ming official lacquerwares with Qianlong’s seals and marks reveal their characteristics and focus explicitly on the meaning of the characters zhenshi afterlife in eighteenth-century China. Furthermore, I argue that the Ming vis-shanglao 真實上牢, or simply shanglao 上牢 in which many of the longer uality and technological exchanges between the court and Suzhou laid the inscriptions end. foundation for Qianlong’s patronage under his commissions. Combined with Jiangnan-based craftsmanship, this ultimately transformed carved lacquer from one dynastic transitional heritage into an artistic achievement. Imperial – Local – Private: Rethinking the Production of Lacquer Ware during the Han-Dynasty as Seen through Inscriptions Margarete PRÜCH, CATS, Heidelberg University (sino@pruech.de) 94 95 Recent discoveries from the tomb of the Marquis of Haihun (92–59 BCE) situated in the outskirts of the city of Nanchang, Jiangxi province, provide new insights into the production process of lacquer ware from local and privately owned manufactures. The burial site comprised two main tombs, seven dependent burials and a sacrificial pit. Tomb 1 belonged to Liu He, the short-term emperor enthroned in 74 BC and deposed after 27 days. His lavishly furnished tomb contained over 2000 lacquer objects, most of them in surprisingly good condition. Particularly important are objects with inscriptions which are unique in the range of Han lacquer ware. They provide fresh insights into regional and private lacquer manufacturing and bear testimony to the production process, the consumption of raw material and the value and application of the final object. The presentation will reappraise the value of lacquer during the Western Han Dynasty. It will focus on the inscriptions on lacquer ware from regional and private workshops excavated from the Haihun tomb and other recently discovered tombs. Some interesting questions arise from this new material: What does the inscription tell us about the production in regional and local manufactures? Who was involved in the process? Why is information like the amount of raw lacquer used for production, or the value of the finished lacquer object only mentioned on some of the objects? Are these special types of objects? And what does the value/price tell us about the preference for lacquer objects? The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Panel 22 Thu 15:00–16:30 ing Japanese and Chinese objects. He mainly frequented the markets of Vien-Lecture room 2 na and Paris, where Japonisme thrived, and became one of the major partici-Asian Art in the West: pants in public auctions that sold the most prominent collections. Exploring Provenance Therefore, this paper aims to expand the mapping of Asian art collections in Europe and to weave a thread of connections between collectors and dealers. Chair: Some key figures that will be examined in relation to Manos are Heinrich von Helena MOTOH, Science and Research Centre Koper Siebold, whose legendary collection was dispersed in 1909, benefiting the ef- (helena.motoh@zrs-kp.si) forts of many Japonisants; additionally, Léon Wannieck, a leading Paris-based dealer, will be discussed with regard to the market’s emerging practices and Tracing the History of Collecting Goryeo modes at the time. In this framework, I will shed light on items from the col-Buddhist Paintings in Europe lection and trace their provenance prior to entering the only Greek museum entirely devoted to Asian culture. Sukyung CHOI, Korean Cultural Center Washington, D. C. (suegchoi@gmail.com) Painted on silk scrolls with rich hues and gold, Korean Buddhist paintings Challenges in Researching and Exhibiting the Asian Art dating from the second half of the Goryeo dynasty (918–1392) or ‘Goryeo Collection of the Latvian National Museum of Art Buddhist paintings’ are exquisite examples, distinguished from other works in Asia. A recent study estimates that there are 160 Goryeo Buddhist paintings Kristīne MILERE, Latvian National Museum of Art spread across museums and temples in Korea, Japan, the US, and Europe. The Latvian National Museum of Art (LNMA), has the biggest Asian art collec-Even while Goryeo Buddhist paintings have profound significance in the field tion in Latvia and one of the biggest Asian art collections in the Baltic States of Asian art history, little progress has been made in their in-depth study as a with items from China, Japan, and India, and a few from Korea and Southeast result of their diasporic nature. Academic attention has not yet been given in Asia. The largest part of it consists of various Chinese, Japanese and Indian full, in particular, to European collections of Goryeo painted icons. artworks – graphic art, porcelain, ceramic works, textiles, lacquerware, metal, ivory, and wood objects, etc. Most of the artworks in the collection are from In this essay, I will take a closer look at Goryeo Buddhist paintings housed the end of the 19th century and the first half of the 20th century. in museums across Europe. I will begin by investigating the provenance of 96 97 each work to trace how they moved from their original locations and came to The collection has been influenced by the cultural, political and diplomatic re-be in their present ones. Goryeo Buddhist paintings started to appear in the lations between the countries, by the existing political regime (e.g. the Soviet collections of several collectors from the late nineteenth century, as religious Union), the taste of the end of the 19th century and the 20th-century people icons from Asia gained popularity. Focusing on the fact that religious hanging who lived in the territory of Latvia. scrolls of this kind were not initially considered to be the most desirable items For the past few years, while research was carried out on several parts of the for Western collectors, in contrast to Blue-and-White porcelains and UKiyo-e collection and exhibitions were staged, multiple challenges have arisen, due paintings, which both generated hypes for Asian art, I will then examine how to missing archival materials on how certain objects were acquired, almost no Victorian collectors reshaped their taste in Asian art at the turn of the twenti-previous contextualisation of the objects, and outdated terminology, as well eth century. a lack of specialists. The paper will briefly outline why these challenges exist and through several examples show how they have been tackled so far both in research and exhibition work. Tracing Networks, Unveiling Provenance: The Gregorios Manos Collection of East Asian Objects Maria METOIKIDOU, University of Glasgow (maria.metoikidou@glasgow.ac.uk) This paper examines the extensive collection of East Asian objects assembled by the Greek diplomat and ambassador, Gregorios Manos (1851–1928), in the early twentieth century. Residing in the Corfu Museum of Asian Art, the Manos collection carries a rich history that has been little researched; it particularly echoes the scholarly nature of collecting that emerged in Europe during the first decades of the twentieth century and reflects Manos’ identity as the first Greek scholar of Asian art. Although his collecting activities are little known outside a specialist sphere, my recent archival research indicates that Manos was among the most actively involved figures in European circles for collect-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Panel 23 Thu 15:00–16:30 porary North Korean painters, I show the attitude towards Goguryeo tomb Lecture room 4 paintings and their copies and the possible reasons for choosing such objects The Essence of a Nation? Korean as diplomatic gifts as representative of the Korean nation and its art at a particular time. Objects in the Context of Diplomatic The very realistic, naturalistic renderings, depicting not only the consciously Relations and their Symbolic Values made forms of the designs but damage to them as well, the revival of traditional ink painting on a large scale, communal artworks, and mass-produced Chair: Beatrix MECSI, Eötvös Loránd University (ELTE), Budapest copies (often made for international distribution), are all important elements (mecsi.beatrix@btk.elte.hu) which made North Korean Goguryeo mural copying a unique and representative activity during the mid 20th century. This panel explores miscellaneous Korean objects that entered In the 21st century, the interest in these mural copies gained new elements, as scholars can even draw scientific data from comparisons of pieces made at dif-European collections within the broader context of diplomat-ferent times in the same spots, relying on their realism; however, ideologies, ic relations. The panellists bring together compelling cases of identity, and heritage policies still play a great role in preserving, exhibiting, official diplomatic gifts from both North and South Korea to and discussing them in different contexts. Eastern and Western bloc countries as well as objects that early Western diplomats gathered around 1900 in Joseon Korea. The strongest point of intersection is the symbolic value these Marginal but Close Enough: Korean National Treasure Replicas as Diplomatic Gifts objects were intended to emit and the question of how this value changed over time. The papers demonstrate how the ap-Elmer VELDKAMP, Leiden University (e.veldkamp@hum.leidenuniv.nl) proaches to identity formation through art and culture differ This paper explores the margins of Korean collections in Europe by focusing in both North and South Korea and how art and cultural ob-on one set of replicas of the famous Goryeo celadon that was gifted to the jects were deliberately chosen to draw a certain image of the Rijksmuseum Volkenkunde in the 1980s. As a set of certified copies of certain 98 respective country. authentic Korean National Treasures, the objects occupy a space that is in be-99 tween two extremes of the authenticity debate. They are not ‘real’, i.e., from Beatrix Mecsi in her paper outlines the copying and circula-the historical period of the originals of which they are copies, but at the same tion of famous art objects such as Goguryeo mural paintings time are considered to be ‘close enough’ to count as representations of the during different periods as part of the diplomatic tradition of original objects (and possibly the wider artistic and technological skills need-gift giving. Based on one group of certified Goryeo celadon ed to create them) which they represent. This seems like a win-win situation: replicas that the Republic of Korea gave to the Rijksmuseum heritage objects that can be gifted without the loss of cultural heritage. Volkenkunde in the 1980s, Elmer Veldkamp concludes the Objects like these are not taken seriously as heritage. Still, they find them-panel by discussing the value of authenticity and the meaning selves at the crossroads of debates about authenticity, diplomatic gifts of art, of cultural heritage. and cultural representation. By moving our focus to these objects that find themselves at the fringes of Korean collections in European museums, we can contribute new types of knowledge about Korean art. First of all, we can Goguryeo Tomb Murals and Their Way to Europe: pose a critical stance towards a reliance on ‘real’ objects in collections and Their Meanings and Contexts what they represent: the result of the circumstances of the museum when the objects were collected. Second, we are forced to think about the value of Beatrix MECSI, Eötvös Loránd University (ELTE), Budapest (mecsi.beatrix@btk.elte.hu) non- authentic items in museum collections and how they may fulfil a role just like authentic objects for the audience, but under different premises and The circumstances of the production and distribution of copies of the fourth expectations. – seventh century Goguryeo tomb murals in Central and Eastern Europe in the 20th century can shed light on the politics and identity-formation of North Korea through art objects. In my paper, focusing on the life-size mural copies of the Anak 3 tomb held in the Ferenc Hopp Museum of Asian Art in Budapest, which were commissioned by a Hungarian diplomat in North Korea in the 1950s from contem-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Panel 24 Thu 15:00–16:30 arts, where the characters lost their connection with the linguistic meaning to Lecture room 13 become decorative elements used for commercial scopes or to design modern New Forms of Calligraphy architectures; 3) performing arts, where the rhythm, dynamism and harmonic movement of calligraphy became a choreographic gesture of a contemporary in Contemporary China ballet or a piece of classical music; and 4) graffiti art, where the presence of calligraphy along the streets evolved from Maoist propaganda posters into Chair: graffiti pieces made of wild-style characters or cursive tags. These new forms Adriana IEZZI, University of Bologna (adriana.iezzi2@unibo.it) powerfully resonate with China’s rich and enduring cultural tradition and at the same time mirror the sweeping cultural and economic changes that have taken place in China during the last decades. Based on the first results of the “WRITE” ERC-funded project, this panel seeks to examine the innovative ways in which new forms of calligraphy in contemporary China have responded Calligraphy and Performance Art in Contemporary China to, subverted, or reinterpreted traditional idioms to define Martina MERENDA, Alma Mater Studiorum - University of Bologna (martina.merenda@unibo.it) a modern artistic identity that exists comfortably within the global art world while remaining indisputably Chinese. In the There are many similarities between calligraphy and performance art: 1. the focus on the artist’s action; 2. the involvement of the artist’s body; 3. the “pro-last forty years, thanks to the uneven growth of the new com-cessual” and “spontaneous” (but not unplanned) manner; 4. the concept of mercial economy and the new politics of the Communist Par- “experience”; 5. the importance of the interaction with the public audience; ty, which “re-opened” China to the rest of the world and to a 6. the close relationship with other art forms (poetry and painting for callig-freer confrontation with its past tradition, the art of calligraphy raphy, dance, theatre, and music for performance art). A lot of contemporary exploded into a plethora of different forms, from graffiti art Chinese artists are trying to interconnect these two art forms into innovative to fashion design, reflecting the increasing cultural diversifi-artistic practices. These artists can be divided into two main categories: 1. contemporary calligraphers who try to transform calligraphic modes into a percation of Chinese society. Starting from this assumption, the formative action to revitalise and modernise calligraphy (e.g., Zhang Qiang, 100 first paper of this panel gives an overview of these new forms Zhu Qingsheng, Shao Yan, Pu Lieping and Wang Dongling); 2. contemporary 101 of calligraphy and outlines their main characteristics, propos-artists/performers who use calligraphy as a source of inspiration and a medi-ing a media-based classification into four categories (“fine and um for their performative/conceptual works (e.g., Gu Wenda, Qiu Zhijie, Song contemporary arts”, applied and decorative arts, performing Dong, Zhang Huan and Wu Wei). arts, and graffiti art). The second paper explores how contem-This paper aims at analysing the most important “calligraphic” performances porary Chinese artists are trying to interconnect calligraphy of these artists to demonstrate how this kind of performance can represent and performance art into innovative artistic practices. Finally, not only a means to show the versatility and modernity of calligraphic art the third paper gives an overview of the use of Chinese writing in contemporary times, but also a means of opposition to any convention, and calligraphy in contemporary graffiti across China. showing the contradictions of contemporary (Chinese) society and providing reflections on man and the world. New Forms of Calligraphy in China from “Abstract” Painting to Graffiti Art The New Era of Chinese Graffiti: Bombing, Calligraphy and Emotional Expressions along the Streets Adriana IEZZI, Alma Mater Studiorum - University of Bologna (adriana.iezzi2@unibo.it) Marta R. BISCEGLIA, Alma Mater Studiorum - University of Bologna (martarosa.bisceglia@unibo.it) Calligraphy is a central tenet of Chinese civilization. The whole history of Chi-After examining the birth, the development and the peculiar characteristics na is strictly linked to the history of its writing and calligraphy. In contem-of the Chinese graffiti art movement, this paper firstly will focus on (1) some porary times Calligraphy has undergone a radical change and it has evolved current artists belonging to different contexts and cities: Z. Chen, Exas, Do-into new forms in all fields of visual and performing arts. This paper aims at hak625, Reset, etc. Some of them have an artistic background linked to the analysing how all these forms emerged in: 1) “fine and contemporary arts”, academic studies or to their works, while others continue to carry on the “old where it became, for example, a naïf painting made of pictographic shapes school” with illegal bombing. The second part of the paper will illustrate (2) of characters, an abstract combination of dots and lines, a “light-calli-photo-two case studies: Blackzao and Creepymouse from Taiwan, which combine graph,” or an artistic video based on digital strokes; 2) decorative and applied The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) the Western graffiti art movement with the Chinese artistic and cultural tradition, using characters, calligraphy and ancient Chinese symbols. (3) In order to explore the diffusion of graffiti art in China in greater depth, this paper also presents a new movement called “prose-based graffiti”. These large-scale pieces of writing, hardly pleasing in any aesthetic sense, and intended for the public eye, are often critical, meant to denounce, shame, or draw attention to societal issues. Most of them were collected by Chinese Graffiti Hub, an Instagram and Weibo account that aggregates photos of amateur graffiti from China. Through the analysis of some selected artwork, the purpose of this paper is to provide an overview of the use of Chinese writing and calligraphy in contemporary graffiti across China, Hong Kong and Taiwan. 102 103 The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Thursday, 14 September 2023 (day 2) Friday, 15 September 2023 (day 3) 104 105 The Third Conference of the European Association for Asian Art and Archaeology Panel 25 Fri 09:00–11:00 Not Just Hairpins: Contextualising the Gold Louge Hairpins Lecture room 15 from the Ming Princely Tomb in Jiangxi Object and Context: Mo D. ZHANG, University of Pennsylvania The Concept of Biography in (zhangmo@sas.upenn.edu) Chinese Art and Archaeology The gold hairpins excavated in the tomb of Prince Zhuang of Yi of the Ming (Zhu Houye, 1498–1556) and his consorts, have attracted considerable attention for their exquisite details of the representation of louge. Yet much less Chair and discussant: Jeehee HONG, McGill University, Montreal attention seems to be paid to the role of these gold hairpins in the funerary (jeehee.hong@mcgill.ca) context. The question of contextualisation regarding how the gold hairpins relate to the occupant has scarcely been addressed at all. This paper seeks to explore the efficacy of the gold louge hairpins in the context of funerary art This panel seeks to rethink the concept of biography and ma-and the multifarious purposes that they serve. How do the gold louge hair-terial culture. Throughout Chinese history, various forms of pins function as burial objects in relation to the occupant, Consort Wan? What biography were adopted to portray aspects of a subject’s life, might these relations reveal about regional artistic production? This paper will answer these questions through a contextualised study of the palace site status, relations, and personality. In the wake of the material of the Ming prince no longer in situ in relation to the local gazetteer, and the turn, the concept of biography has also been applied to physi-tomb epitaph of Consort Wan. By looking at the representation of louge on cal objects, often through studies of the “social lives” or “cultur-the hairpins and their parallels in the Song dynasty tomb murals as well as al biographies” of things, but it remains to be examined what the arrangement of murals in the burial space, this paper will explore what is gained, or lost, by adopting this approach. How can forms these gold louge hairpins might reveal about the imagination of the afterlife. of biography shed light on the relations between subjects and Additionally, by drawing on historical records and illustrated Daoist texts, this paper will examine the regional artistic latitude in relation to the established objects? How would historical writers have conceptualised the Daoist pictorial vocabulary embodied in the making of the Ming gold louge biographies of inanimate things and things that outlive their hairpins in sixteenth-century Jiangxi. makers? 106 107 Behind these questions is an ongoing conversation about the Messages Hidden in Grand Narratives – Reconsidering relationship between objects and their social contexts. The the Tomb of the Ruru Princess and the Mid-6th Century stakes of this conversation centre on whether objects are epi-Jingyi ZHOU, New York University phenomenal, i.e., growing out of and reflecting specific social (zhoujy@nyu.edu) phenomena, or transhistorical, i.e., possessing the ability to en-The tomb discovered in 1978 at Dazhongying Village, south of Ci County, dure across time and space. In engaging with this conversation, Hebei Province, is known as the Tomb of the Ruru Princess. The ethnicity of this panel adopts a diverse range of positions to studies of ex-the tomb occupant as a descendant of the Rouran, a 5–6th century CE steppe cavated objects. Zhou’s paper investigates the affordances of empire, dominates the analysis of the tomb, categorising its features either as “exotic elements” or Sinicisation. The paper first looks at the “Shaman figu-biography in political wrangling during the sixth-century Herine”. By comparison with other objects and from a close reading of the tomb bei. Heatherly’s paper explores how the concept of biography epitaph, this paper argues that the figurine is a representation of a musical has shaped modern-art-historical interpretations of Buddhist ritual from the Southern Dynasties. Its appearance is likely due to the move-relic pagodas in eleventh-century Zhejiang. Zhang’s paper ex-ment of literati and the occupant’s life experiences. Also, the death and burial amines the efficacy of the gold hairpins in sixteenth-century coincided precisely with the displacement of the Eastern Wei by the Northern Jiangxi in relation to the tomb epitaph. Liu’s paper considers Qi. In earlier discussions, a preconceived dualistic conception has ignored the pluralistic character of the material and the specificity of the individual. Revis-the biographical lineage of the archaistic bronze mirrors and iting this tomb encourages us to explore other possibilities. The occupant was their talismanic power in sixteenth-century Shanghai. not merely a steppe immigrant who was interred in the Northern Dynasties. She enjoyed the honorary title of an Eastern Wei princess, married to a son of the most influential clan at the time, and passed away at a particular moment when her husband’s family annexed the throne from the previous dynasty that gave her title. She left her country and resided in the Eastern Wei court and the Northern Qi royal family’s household, where she received a local education and developed into a lady with recognised cultural qualities and virtues. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Buildings Beyond Biography: Temporalities of Buddhist biographical lineage of mere contemporary imitations. Previous scholarship Pagodas in Eleventh Century China on Ming taste for archaism has focused largely on the connoisseurial dimension. This set of bronze mirrors reminds us that apotropaic power—embod-Bryce HEATHERLY, University of Pennsylvania (heatherlybryce@gmail.com) ied by inscriptions, designs, and even corrosions—should also be taken as a critical aspect of the fervour over antiquity and archaism during the mid to As a critical method, the ‘new materialism’ has been taken up with increasing late Ming period. frequency in recent decades to examine the biographies of things. In the field of East Asian Buddhist architecture, this method has allowed us to understand buildings not only as things that are worked upon, but also as agents that perform work across time. At the same time, these biographies have not fully theorised the complex relations between buildings and time. Much work within this biographical approach, for example, tends to view architecture as either synchronic (belonging to a single moment) or diachronic (reflecting the movement between two moments), but it rarely attends to the ways that multiple organisations of time are often embedded in buildings. Through case studies of eleventh-century Buddhist pagodas in southeast China, this paper rethinks this biographical approach in an effort to highlight issues of temporality that this approach has conventionally avoided. During this period, the building of Buddhist relic pagodas comprised a wide range of practices – multi-generational construction projects, excavations of ruined pagodas, and reinterpretations of Buddhist theories of time – that raise questions about the temporalities embedded in materials and buildings. What traces of other times were legible in eleventh-century pagoda architecture? How should we describe and categorise the various temporalities articulated therein? This paper will explore these questions through three case studies, drawing on 1) the Ruiguang Monastery in Suzhou (Jiangsu), 2) the Lingshi Monastery Pago-108 109 da in Huangyan (Zhejiang), and 3) the Ganlu Monastery Pagoda in Zhenjiang (Jiangsu). The Apotropaic Power of Antiqueness: Bronze Mirrors from the Lu Family Tomb in Ming Shanghai (1500s–1620s) Jinyi LIU, New York University (jl11454@nyu.edu) In 1969, while conducting construction for bomb shelters in Pudong, Shanghai, workers accidentally uncovered a multi-burial tomb that belonged to the family of an influential official in the central government of the Ming dynasty (1368–1644). While the tomb yielded many delicate gold and jade objects, the focus of this paper is on the unusually large set of bronze mirrors found in the burial complex. There are twenty-one in total, and, significantly, aside from mirrors made with no decoration or only inscriptions, ten mirrors appeared much more ancient than the tomb, conforming to Han (202 BC–220 AD) and Tang (618–907) styles. Are they authentic antiques or archaic imitations? Why were they chosen to accompany the tomb owner in the afterlife? This paper considers this assemblage with other mirrors found in Shanghai Ming tombs documented in archaeological reports, and argues that, in the context of Ming Shanghai funerary culture, mirrors’ antiqueness was believed to amplify their apotropaic efficacy. If the extreme age rendered authentic antiques efficacious, archaic designs imbued the Ming facsimiles with an agency to enact talismanic power. In other words, such designs materialised and extended the The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Panel 26 Fri 09:00–11:00 The China Galleries at the Vienna World’s Fair Lecture room 2 Lukas NICKEL, University of Vienna East Asian Art in the Wake of the (lukas.nickel@univie.ac.at) 1873 Vienna World’s Fair: Collectors The opening of the Vienna World’s Fair took place after years of growing eco-and Collection Biographies in nomic optimism and political aspiration in Vienna and across the Dual Mon-archy. Vienna’s Medieval ramparts had been demolished and replaced by the Central Europe at the Late 19th grand boulevard Ring, the Danube River was being regulated, and the city and Early 20th Centuries (I) had expanded dramatically, by 1873 counting more than a million inhabitants. An administrative compromise with the Hungarian part of the empire had Chairs: brought about internal stability. Modern railway lines began to facilitate an Lukas NICKEL, University of Vienna increasing industrialisation across the country. A closer alliance with Germany (lukas.nickel@univie.ac.at) Nataša VAMPELJ SUHADOLNIK, University of Ljubljana had resulted in a more powerful position in Europe. The creation of the Suez (natasa.vampeljsuhadolnik@ff.uni-lj.si) Canal had reduced transport costs and travel time to Asia and had made its port Trieste an important international trade hub. The Vienna World’s Fair (Wiener Weltausstellung) in 1873 The 1873 World’s Fair was designed as a spectacular celebration of Aus-was to mark the new standing of Austria-Hungary in Europe tro-Hungary’s new position in the world. Fittingly, the organisers put special emphasis on Vienna’s specific ties with the Orient. Among the non-European and the world. It was the first World’s Fair to be held outside countries that took part at the exhibition for the first time, it was China and Great Britain and France, and the organisers attached particu-Japan that attracted the strongest public interest. Both shows with their lavish lar importance to the participation of China and Japan, which displays of handicraft and art works were to become exceptionally influential. were officially taking part for the first time. The Fair led to the The objects presented at the exposition later became the foundation of East founding of the Oriental Museum in Vienna and the opening Asian museum holdings and initiated a surge in interest in East Asia among of several exhibitions of East Asian art in Vienna in the follow-private collectors. ing years. It also facilitated the emergence of such collections This paper is going to focus on the Chinese exhibition at the World’s Fair. It is 110 111 in museums and private hands across the Empire and Central going to trace how the show came together, recapture what is known about Europe. Many of the East Asian holdings in museums between the display in the Industriehalle, and investigate the reception the China gal-Prague, Budapest, Trieste, Ljubljana and Vienna have roots that leries received among the public. can be traced back to the 1873 exhibition. In the proposed session panel, we will attempt to uncover the Japan’s Policy Following the Austro-Hungarian Guidelines for the Vienna World’s Fair in 1873 impact of the Vienna World’s Fair on East Asian collections in Central Europe. We will try to trace the circulation of collecti-Bettina ZORN, Weltmuseum Wien (bettina.zorn@weltmuseumwien.at) bles beyond the currently existing borders and between differ-The World’s Fair held in Vienna 1873 proved to be of importance to Meiji-Ja-ent geographical areas as well as across social classes, which pan (1868–1912), which proudly presented itself as a nation for the first time will lead to the reconstruction of cultural contacts between abroad. In contrast to the Chinese presentation, the Japanese felt it important the former Austro-Hungarian Empire and East Asia. Taking the actively to contribute to the world’s fair that Emperor Franz Joseph approved Vienna World’s Fair as a starting point, we will therefore dison May 24th, 1870. In March 1871, Heinrich Ritter von Calice, Austro-Hun-cuss its influence on the establishment of several museums in garian envoy to Japan, submitted the formal invitation to Sawa Nobuyoshi, the region, the perception of East Asia in Austria-Hungary, the the Japanese foreign minister. The official brief was showcasing agricultural, collecting activities and networks of various collectors, their industrial, and artistic products. Based on the official Austro-Hungarian catalogue listing 25 categories, the Japanese delegation, among them a few for-status, and how the multicultural context of Austria-Hungary eign advisors, put together over 6000 objects. Today we are still able to locate stimulated the mobility of such objects. We will also discuss some in various museum collections all over the world. The challenge Japan the fate of these objects and collections after the collapse of faced was to find the corresponding counterpart to the categories asked for. Austria-Hungary. Japan took an active rôle in generating interest abroad by choosing products such as ceramics, lacquer ware or delicate leather and paper goods or exceptional metal objects, which won prizes in 1873 and represented both Japanese The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) or foreign taste. The Japanese delegation also aimed to learn more about Eu-the Vienna World’s Fair, now in the collection of the Museum of Applied Arts ropean taste and trade opportunities. For the Austro-Hungarian Empire, the in Vienna – this case study will critically analyse the scope of aesthetic ap-encounter with Japan and the East in general proved to be inspiring. proaches by the Exhibition Committee as well as various Japanese kilns, with reference to historical documents. The acquisition of these ceramics will then be contextualised within the historical discourses of Viennese intellectuals as How the World Came Together: The Importance well as the collecting pattern of contemporaries. In so doing, this paper ex-of Social Contacts during the Vienna World’s Fair plores early Meiji design strategies and their repercussions for the collecting landscape in mid-1870s Vienna, aiming at illuminating a focused history of Agnes SCHWANZER, Weltmuseum Wien / University of Vienna intercultural aesthetic negotiations. Archduke Rainer of Austria (1827–1913), cousin of Emperor Franz Joseph, is representative of an aspect of the Vienna World’s Fair that is little illuminated and difficult to grasp today, namely the social networks that made international contacts possible only through this major event. Archduke Rainer was the President of the Commission for the Vienna World’s Fair. In contrast to Schwarz-Senborn, the Director of the World’s Fair, Rainer had symbolic and representative functions to fulfil. He represented the interests of the World’s Fair through various trips abroad in the run-up to the exhibition and accompanied the travelling public (state representatives, aristocrats and heads of renowned institutions) on tours and events during the Fair. The rich programme of evening events (from lectures to dance balls) extended such initial contacts with exhibitors on the fringes of the Fair. The Japanese delegation, for example, had new invitations every evening, increasing their popularity and presence in the media, which on the one hand promoted Japanese fashion in Vienna and Europe, and on the other offered the Japanese a social stage to present themselves as a country to be taken seriously interna-112 tionally and to deepen the contacts necessary for this. 113 Archduke Rainer’s function made him the hub of lasting contacts that could be established during the World’s Fair. For example, together with Rudolf Ei-telberger, the director of the Austrian Museum of Art and Industry (Museum for applied Arts), he thus ensured the acquisition of foreign exhibits for the collection. The idea is therefore to use newspaper reports and personal records of key personalities (such as Archduke Rainer, Sano Tsunetami, etc.) to create a record of social life during the World’s Fair in order to gain a better picture of the subsequent developments of collections and collectors. Teacups from Japan: Japanese Ceramics: Vienna World’s Fair and Viennese Collecting Mio WAKITA, MAK – Museum for Applied Arts, Vienna For Meiji Japan, the Vienna World’s Fair, widely known in scholarship as the first venue for the country’s appearance in the landscape of international exhibitions after the Meiji restoration (1868), marked a critical turning point for Meiji cultural policy. More importantly, the relevance of the exhibition for Meiji export politics as the first and best instance for direct market research stimulated a series of design experiments under the guidance of the Japanese Exhibition Committee. With a focus on ceramics, one of the most promising export sectors of Meiji Japan – and especially a group of European-style teacups from Japan sold at The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Panel 27 Fri 09:00–11:00 This paper contributes to two understudied areas of art-historical enquiry. Lecture room 4 First, it aims to understand the diversity of the Asian continent through a Overlooked Objects visual analysis of patterns, materials and techniques of basketry production represented in the Dryad collection, with investigation of the relationship be-and Technologies tween the basket’s intended function and its structure and techniques. Secondly, it offers a new Asian material-culture history in relation to the British Chair: Empire, uncovering what linkage with the colonial context the objects reveal. Sarah NG, Hong Kong University Museum and Art Gallery Investigation of the History of Canton Transparent Enamel Untangling the Knot: A Reconstruction in the Qing Dynasty of a Traditional Chinese Wooden Joint Fuxiang GUO, Palace Museum in Beijing Max FRÜHWIRT, Institute of Architecture and Media, Graz University of Technology (guofuxiang66@163.com) The Skušek collection, currently stored in the archive of the Slovene Ethno-Transparent enamel is a relatively small category in the Canton enamel family. graphic Museum, contains a rare, scaled-model of a Chinese wooden house. In the past, the academic circle mainly focused on Canton painted enamel, At a scale of 1:10 the model displays every single component of the wooden but paid little attention to transparent enamel. On the basis of physical investi-structure – beams, rafters, columns, brackets, consoles – and provides insight gation and a literature review, this paper undertakes a preliminary discussion into the architectural anatomy of a traditional Chinese wooden pavilion. This of the origin, techniques, market and production house of Canton transpar-model is presently disassembled and, since the model is made of very old and ent enamel, in the hope of clarifying the historical context of the development now brittle wood, a complete reassembly would be more than difficult if not of Canton transparent enamel in the Qing Dynasty, and effectively promoting outright impossible. the recognition of this particular category of Canton enamel and laying a foun-The proposed paper Untangling the Knot: A Reconstruction of a Traditional dation for further research in the future. Chinese Wooden Joint will show different methods of digital heritage preservation, reconstruction and data generation by analysing one of the most Intertwining Asian Cultures: Basketry from the Dryad complex parts of the model: the wooden knot connecting the load-bearing 114 columns in each corner of the house to the beams that form the support 115 Collection at Leicester Museum and Art Gallery. structure of the roof. The knot in question achieves said connection without Maria Chiara SCUDERI, University of Leicester any need for glue or nails and works as a wooden joint that locks the dif- (mcs38@leicester.ac.uk) ferent parts tightly using nothing but their own weight and the distribution In historiography, the art of basket-making received particular attention dur-of forces within itself, which makes it a marvel of traditional Chinese wood-ing the 1970s, culminating in the publication Basketry Technology (Adova-working. The goal was to reconstruct this joint not only structurally, but to sio, 1977), which still represents the most comprehensive guide for all those also understand the design decisions behind its development. The paper interested in understanding the history of basketry through the lens of their will explain the functional aspects of this aesthetically highly appealing part materials and techniques. Subsequently, this interest became widely neglect-of the structure. A wide variety of digital and analogue tools and results will ed by scholars, although many European museums hold basketry collections, be presented as a case study on possible future applications of the workflow thanks to the activity of anthropologists, Christian missionaries and colonial employed. administrators, who gathered basketry on the field as objects of daily use to witness to the life of the colonised people. Between 1910 and 1936, the owner of the Dryad firm of cane furniture in Displaying Identity in Late Imperial China: Qing Dynasty Hat Stands at the Victoria and Albert Museum (V&A) Leicester, Harry Peach, purchased a collection of world basketry in international exhibitions, world’s fairs and missionary expositions, called the Dry-Helen GLAISTER, Victoria & Albert Museum, London ad collection. Peach was interested in improving practice-based education (h.glaister@vam.ac.uk) at the Leicester School of Art, by circulating examples of ‘handicrafts’ from The role of costume as a visual signifier of rank and status in the Qing dynasty foreign cultures, and in delivering basketry classes around Britain based on is well documented and was widely understood at all levels of society, from techniques in the Dryad objects. The collection entered the local-authority in-the imperial court and Manchu elite to the Chinese populace. The Chinese stitution Leicester Museum and Art Gallery in 1969 as a school loan collection, hat and headdress played a significant part in this process, through its design and comprises Asian basketry from British colonies in Sri Lanka, Malaysia and and form and a panoply of materials, colours and in turn meanings which China, and Japan. situated the wearer in a clearly defined hierarchy of civil and military society. The symbolic value of hats was such that they were prominently displayed on The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) ornamental stands – expertly crafted in a range of media and decorative styles Panel 28 Fri 09:00–11:00 – within the carefully constructed interiors of palaces and mansion houses. Lecture room 13 The V&A holds a remarkable group of Chinese hat stands, dating from the Image and Identity through eighteenth and nineteenth centuries and including examples destined for the Eyes of Artists, Connoisseurs the court in Beijing. Crafted from jade, carved and inlaid lacquer, cloison-né, enamels on copper and moulded from gourd, this group of objects illus-and Intellectuals trates the rich variety of luxury materials employed for the purpose of display. Shapes and decorative styles are equally diverse, ranging from elaborate floral Chair: Michel LEE, Museum of Far Eastern Antiquities, Stockholm motifs and symbolic elements, dazzling polychrome colours to monochrome, the use of lustrous surfaces and expensive materials contrasting with simple, organic matter, emphasising key elements of Qing dynasty aesthetics and con-Construction of Artists’ Image and the Expectations noisseurship. of Eras in Traditional China On arrival in Europe, Chinese hat stands were frequently misunderstood by Yuqing SUN, Charles University, Prague private collectors and museums. This paper will consider the role of hat stands (yq.sun19@outlook.com) in their original context and the history of these objects at the V&A. The renowned literati artists in traditional China sometimes have the distinctive image of mavericks. The construction of these images is complicated. The management of the artist himself, the description in the history of the painting and other historical sources, and the requirements and expectations in different eras are all essential elements in moulding their images. As Otto Kurz and Ernst Kris have explored the construction of Western artists’ images by analysing their biographies, I concentrate on the writings about artists in traditional China, where the literati, who dominated art discourse, constructed artists’ images to meet their expectations of different eras. Historical writings, in the same way as paintings, are namely the product of specific authors at specific 116 times in specific contexts. 117 In this article, I will take Ni Zan 倪瓚 (1301–1374), Tang Yin 唐 寅 (1470– 1523), and Shi Tao 石 濤 (1642–1708) as examples to interpret the construction and remoulding of an artist’s image from the perspective of the demands and expectations of different times. My hope is that this study will not only provide one explanation for how artists’ images were constructed and how such images participated in the study of actual artistic works, but will also suggest a direction for the further understanding of Chinese artists and Chinese art. Paintings of Visiting Stele and Collecting Bronzes in Late 18th-Century China: Archaeological Report and Personal Memoir in One Jennifer C. C. CHANG, SOAS, University of London (676076@soas.ac.uk) In Chinese intellectual history, the 18th century is an era of antiquarianism, when pondering the past via material and textual remains was called bronze-and-stone study ( jinshixue). At the time, scholars would travel to see stone stele, documenting and publishing rubbings of the findings. Celebrated scholar-officials such as Weng Fanggang 翁方綱 (1733–1818) and Ruan Yuan 阮元 (1764–1849) were leading figures in this type of work, publishing extensively on epigraphy and philology. Another major figure is Huang Yi (1744–1801) 黃 易, a renowned seal-carving artist who travelled widely to visit various sites of cliff carvings and stelae. Previous research has focused on their publications, The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) calligraphic writings, and seal-carvings, but they also left behind paintings, of-Panel 29 Fri 11:30–13:30 fering valuable visual documentation of their journeys and collections. Some Lecture room 15 existing examples include Wang Xuehaos’s 王學浩 (1754–1832) Presenting the Tripod dedicated to Ruan Yuan, and a series of albums by Huang Yi document-Archaeology of Central Asia: ing his stelae visits. In these artworks, the owners left inscriptions recording Discoveries and New Approaches their findings, followed by voluminous colophons from their contemporaries, indicating the paintings were circulated. Unlike a conventional report, Chair: Maria KHAYUTINA, Ludwig-Maximilians-University of Munich the inscriptions focused mainly on the owners, praising their dedication and (maria.khayutina@lmu.de) knowledge in antiquarianism. For those scholars, producing these paintings was not only reporting their research activities, but also creating a personal memoir to establish a certain image and reputation. Through investigating Pottery of the Kulai Culture in the Early Iron Age these visual materials, this paper aims to enhance the understanding on stele (Western Siberia) visiting in late 18th-century China as an early form of research on material re-Dmitriy SELIN, Institute of Archaeology and Ethnography mains, offering a window into the past prior to the establishment of modern Siberian Branch of the Russian Academy of Sciences, Novosibirsk archaeology. The paper furthermore reflects on the impact that these practices This paper focuses on the results of multidisciplinary study of the pottery of have had on Chinese archaeology. Kulai culture (ca. 4th century BC – 4th century AD). Ceramics from the sites located in the Surgut region (248 vessels) and the Novosibirsk region (97 vessels) were analysed. The study was carried out using interdisciplinary meth-Story of the Stone and its Replications in Modern China ods, including traceology, petrography, X-ray diffraction and thermal analysis Jiayao WANG, Augusta University and 3D modelling. My research paper looks at the cultural biography of a collection of seal carv-Analysis has revealed that in the Kulai culture of the Novosibirsk region, fer-ings with the literary content Shitou ji pinghua derived from the most pop-ruginous clays were used as raw materials for pottery. The most common clay ular edition of the novel The Story of the Stone. In Shitou ji pinghua, each paste composition was clay + broken stone. The use of chamotte as an arti-character name from the novel is matched with a drama line from Story of the ficial additive to clay was much less frequent. An admixture of organics was Western Wing. The patron of this project is Ji Houtao 季厚焘 (1865–1948), rarely used. Vessels were moulded using the patch building technique. In the 118 119 a Hangzhou literati scholar. The first seal carver Zhao Mu 趙穆 (1845–1894) Kulai pottery of the Surgut region, ferruginous clays were used as raw materi-passed away, with the unfinished project completed by Ye Ming (1866–1948) als. The most common clay paste composition was also clay + broken stone; in 1904. From 1904 to 1946, we see different modes of production and re-however, at some archaeological sites, the dominant composition was clay + production of the seal imprints. First, we see the hand-printed seal albums chamotte. Organic admixtures were also rarely used. Vessels were moulded circulated within the inner circle of connoisseurs and intellectuals. From 1927 using the patch or band building techniques. to 1928, the photographic reproductions of the seal imprints appeared in in-As shown by a comprehensive analysis of the materials studied, which had a stalments in the influential newspaper, Morning Post Sunday Picture Section common origin, the pottery traditions of the Kulai culture vary greatly in dif- (1925–1928). Mechanical reproduction takes the “aura” away from the origi-ferent regions. This is manifested in different compositions of artificial addi-nal, and this provokes calls for the “authentic” and the “original”. In 1946, the tives for clay pastes, different skills in sculpting vessels, different tools for pro-Hanwen Bookstore issued the seal album by hand-printing, with a sufficient cessing vessel surfaces, etc., which indicates the influence of other cultures. consumer audience to sustain a bookstore-publisher of this kind. This paper The Kulai culture in different territories was influenced by neighbouring cul-looks at the complex relationship between the materiality (seal carving/stone) tures, as was reflected in the traditions of pottery. The study was supported by and the story Story of the Stone, the stone (seal carving) and its replications, the Russian Science Foundation, grant no. 21-78-00039. the technology (human hand/machine) and the “aura” of the art. Spatial Dynamics of Urbanisation at the Onset of the First Turk Empire Annie CHAN, Ludwig-Maximilians-University of Munich The contours of medieval urban transformation astride the Tarim-Tian Shan mid-latitudes are to a large extent viewed through the lens of religious iconography and Chinese political history. Thus, research is often directed at finds evincing the materiality of interregional cultural forms that demarcate routes of transmission conforming to purported topographical perimeters. Most noThe Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) table examples include murals, religious buildings, and ornamental objects Naksatras in Central Asia: Analysis of the Archaeological made of precious metals and textiles. This paper redirects the attention to ̇ Finds from the Qigexing Temple in Ritual Context the built environments that engendered some of these finds. It questions the social impact of space use as well as the spatial patterns of cultural change Lu TIAN, Freie Universität Berlin (lu.tian@fu-berlin.de) with respect to building form, function, layout, and site selection. The paper finds an explanation for the character of cultural heterogeneity across the re-The archaeological site of the Qigexing Temple, which was located in the angion’s desert and montane steppes at the onset of the First Turk empire (late cient kingdom of Karashar (chi. Yanqi 焉耆), has been largely neglected in 6th – early 7th centuries) in syntaxes of built landscape that are the legacy of research to date. As a station on the northeastern edge of the Tarim Basin coterminous protectorates, kingdoms, and confederate groups of preceding between Kocho and Kucha, Yanqi had little attraction for scholarship and was centuries. never as powerful or significant as its neighbouring countries. Utilising an art-historical perspective with the help of archaeological methods, this project aims to evaluate the scattered archaeological finds from various Same Site – Different Viewpoints: Understanding the collections embedded in the overall transmission and development of Bud-Archaeological Landscape of the 10–12th Century Khitan dhist art along the ancient trade routes. The focus, on one hand, is on the Period Settlement of Khar Bukh Balgas in Bulgan County, systematic inventory and the dating of these fragmentary materials and on the Mongolia other hand it centres on the reconstruction of previously collapsed caves. As a Katalin TOLNAI, Independent scholar, Budapest result, the effects and functions of the entire artwork in the ritual context and András HARMATH, CEO – Tahimeter Ltd, Nógrádsáp original positioning concepts will be revealed. Zsolt SZILÁGYI, Research Center for the Humanities, Institute of Ethnology, Budapest For this occasion, this talk investigates the identification and significance of Naks The paper deals with the landscape archaeological research of the 10–12th ∙atra (Chi. Xiu 宿) representations in Buddhist caves, focusing on the relevant archaeological materials from Central Asia. Through this example it is century Khitan period site, Khar Bukh Balgas in Bulgan county, Mongolia. In possible to highlight the religious complexity of Yanqi Buddhism, showcasing this paper, we present different aspects of our research at this site. Our work exactly how this meaningful ritual space was built. is carried out within the framework of the Khi-Land, Khitan Landscapes in Mongolia 2017–2023 project. The main goal of the project is the understand-120 ing of the inner structure of the settlements of the Khitan Empire and the 121 relationships between the nomadic lifestyle and the towns of the Liao Empire, which once occupied parts of China and a large part of present day Mongolia. In this talk, we will summarise our findings on the archaeological landscape of the fortified settlement of Khar Bukh Balgas. Also, we will make a brief comparison with the contemporaneous Khitan-period sites from Mongolia. In that, we will refer back to our presentation held at the EAAA Online panel 2021, but we will give more detailed information on various aspects of Khar Bukh Balgas, such as its architectural reconstruction, agricultural remains and use period. We will also discuss another aspect of the landscape, seeing the area of Khar Bukh Balgas on a wider timeline. In that analysis, we will consider this area as a sacred landscape. In the 16–17th century, a Monastery was erected in the area of the Khitan fortification. In our presentation, we will also discuss the possible connection between these remains. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Panel 30 Thu 11:30–13:30 The East Asian Heritage and Collecting Activities Lecture room 4 of Eleonora von Haas East Asian Art in the Wake of the Barbara TRNOVEC, Celje Regional Museum 1873 Vienna World’s Fair: Collectors (barbara.trnovec@pokmuz-ce.si) Nataša VAMPELJ SUHADOLNIK, University of Ljubljana and Collection Biographies in (natasa.vampeljsuhadolnik@ff.uni-lj.si) Central Europe at the Late 19th Eleonora von Haas (1866–1943), wife of Austro-Hungarian councillor Josef and Early 20th Centuries (II) von Haas (1847–1896), lived in Shanghai from 1889 until her husband’s death in 1896. After his death, she travelled back to Vienna and Graz, and in 1913 moved in with her relatives in Mozirje, Slovenia, where she lived until her Chairs: Lukas NICKEL, University of Vienna death in 1943. She brought with her Chinese objects, which later ended up (lukas.nickel@univie.ac.at) with her friends and relatives, as well as photographs and some documents, Nataša VAMPELJ SUHADOLNIK, University of Ljubljana (natasa.vampeljsuhadolnik@ff.uni-lj.si) which are now kept in the Historical Archive of Celje and have not yet been examined. By studying the documents and photographic material in the archives, we aim Our Man in Shanghai: Josef Haas and the Role of 19th Century Austro-Hungarian Representatives in China to reconstruct her life and shed more light on her role in the collecting activ-as Movers and Shakers of Collecting Networks ities and the social network that formed around her husband. To what extent was she involved in collecting and how was her interest in collecting shaped Alexandra NACHESCU, University of Vienna by the cosmopolitan nature of Austria-Hungary, which became especially pro- (al.nachescu@gmail.com) nounced after the 1873 World’s Fair when China and Japan became more Austro-Hungarian imperial representatives in China acted as important nodes prominent? Using oral history methods, we also aim to reconstruct her/their in collecting networks of the second half the 19th century. This paper will collection of Chinese objects brought to Slovenia, as well as their collection in examine how imperial representatives like Josef Haas (1847–1896) and his the Weltmuseum in Vienna, to explore the nature of the objects they acquired, contemporaries harnessed their influence as brokers within the European their personal tastes, and to what extent they can be linked to museum acqui-diasporas in Asia for their collecting activities. It will establish how Haas’ ensitions and the Vienna World’s Fair. This will also allow us to investigate what 122 123 gagement with collecting was shaped by his early employment at the Hong happened to her/their collection after the collapse of Austria-Hungary. Kong consulate, just as it played a crucial role in museum acquisitions associated with the Imperial East Asian Expedition (1869–1871) and the Viennese World Fair (1873), and will then investigate his own network-building as Aus-The Influence of World’s Fairs and the Opening of New Sea tro-Hungarian Councillor from 1889 (and General Councillor from 1895 until Routes on the Formation of Collections of Japanese and his death in 1896). Chinese Art and Ethnographic Material in Bohemia and Moravia in the late 19th Century Haas used his active membership in diasporic societies like the Shanghai-based Royal Asiatic Society as a means of recruiting donors for museums in Vienna. Filip SUCHOMEL, Regional Gallery in Liberec (filip.suchomel@volny.cz) The paper aims to shed light on the formation of Haas’ network, the different incentives affecting his contacts – from visibility in scientific societies to the World’s fairs were an important milestone for the foundation of the first Czech acquisition of national honours and the furthering of personal commercial in-museums and sparked a renewed interest in Japan and China in particular. terests – as well as Haas’ reliance on British imperial institutions like the RAS. The World’s Fair in London in 1862 was the primary impulse for the foundation of the first Czech industrial museum, founded by Vojta Náprstek. Among Whilst taking individual collectors as a starting point, the author hopes to the first exhibits to be recorded in the collection were also Chinese and Japa-highlight the specific positionality of Austro-Hungarian imperial consulates in nese arts and crafts or ethnographic objects. Náprstek became the first Czech transnational collecting networks. As a research framework, the focus on con-creator of a modern museum institution, which was supposed to represent sular institutions eschews the methodological nationalism of earlier research, everyday life in distant countries, to present its culture and artistic artifacts and allows a clearer view of the reliance of 19th century Austro-Hungarian with the aim of finding possible lessons and inspiration in them. collecting practices on European diasporic communities in Asia. A milestone for developing non-European collections in Czech museums was the World’s Fair in Vienna, thanks to which art and industrial museums were founded in Brno and Liberec. A significant role in their acquisitions and exhibition activities was played by non-European objects, whose non-traditional shapes and decoration were intended to inspire domestic creators and help the new development of craft industries. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) From the 1850s, newly established shops (selling mainly tea) played an impor-Panel 31 Fri 11:30–13:30 tant role in the promotion of non-European culture not only in Vienna but Lecture room 4 also in the Czech lands, especially in Prague and Brno. They also offered other goods of non-European origin, including works of art, and became important The Object That Isn’t centres of interest in the Far East, its crafts, and culture. Chair and discussant: Lei XUE, Oregon State University Better travel accessibility, the creation of regular ship connections, the devel- (lei.xue@oregonstate.edu) opment of the Austro-Hungarian navy, and its regular voyages to distant Asian destinations also played an important role in the development of the collection of non-European objects in Bohemia and Moravia. Naval officers such as A collection consists of objects, literally. The objects, in the fa-Dubský, Wawra, or Stejskal collected large sets of artistic and ethnographic miliar dual sense as material things and symbolic tokens, are material during their travels in the service. Interest in exploring foreign lands subject to creative, collection-oriented thoughts and activities. peaked in the Czech lands at the turn of the 20th century, when travellers such as Vráz, Korěnský, or Hloucha built exceptional and unique sets of art and The collector, said Walter Benjamin, liberates “things from ethnographic objects, which later became the basis for the largest museum the bondage of utility.” The question is not “what are objects collections in the Czech lands. in the collectors’ programs of meaning making?” Rather, the question is, “how do objects maintain, as well as reverse, their materiality in this progress?” This panel discusses the practices of collecting in early-modern and modern China by rethinking the concepts of object and materiality through their equiva-lents and countertypes. The speakers explore the interacting dynamics which have affected the materiality of the collected objects as much as the quality of being an object. Lianming Wang explores how kuancai lacquer screens were deployed 124 by Qing local officials as inscribed objects to claim and consol-125 idate political alliances. Tingting Xu discusses the antiquarian scholars’ pursuits of “true images”, and asks what a Chinese “truthful” medium means in the fabrics of illusion, knowledge, and representation. Guangchen Chen reflects on the correlations between the collectible objects and the intellectual history of modern China through Chen Mengjia’s dual trajectories in written and material cultures. François Louis identifies a set of purported Liao gold and silver vessels as forgeries and examines the role of international antiquities collecting in the conception of Liao elite material culture. Our goal is a deeper understanding of the collection as the totality of the objects set in their material and conceptual antinomies. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Pursuing the “True Image”: Photography and the Antiquarian Fake Plunder: The Case of Liao-Dynasty Gold and Silver Objects in Late Qing and Early Republican China François LOUIS, Bard Graduate Center, New York Tingting XU, University of Rochester (francois.louis@bgc.bard.edu) (xuxutingting@gmail.com) Between 1989 and 1991, several dozen purported Liao-dynasty gold and silver In the 1890s and 1900s, cameras and modern printing became the indispensa-vessels entered the international art market. The vessels all have dated inscrip-ble tools of Chinese antiquarian scholars and collectors. The “true image” was tions that link them to prime minister Han Derang (941–1011) and Empress a recurring concept in their pursuit of a vivid and reliable visual representation Dowager Chengtian (r. 983–1006), two of the most famous figures of the Liao of the studied objects – in both photographs and the photomechanical repro-dynasty (907–1125). There is ample evidence to excite suspicion that these ductions of other materials involved. Paradoxically though, the photographs vessels are the products of an ambitious forgery operation, intended to entice published were often retouched, or even modified, to conflate representation international collectors to enter a new field: Liao elite material culture. In this with the object itself. These were by no means images depicting the objects presentation I am taking a fresh look at the group, prompted by the 2020 pub-in straightforward “truthfulness.” How should we understand the retouched, lication of Han Derang’s looted tomb. I am finding that a considerable body deceptive, and what I call “hyperreal” photographs, in the antiquarian fab-of literature has now accrued that still considers these pieces to be authentic. rics of illusion, knowledge, and representation? I argue that photography and This literature sees the vessel inscriptions as proof of an amorous relationship photomechanical printing enabled the modernisation of connoisseurship, between the Kitan dowager empress and her Chinese minister. contextualised the Chinese culture of collecting in the world perspective of antiquarianism, and facilitated the convergence of the study of bronzes and stelae ( jinshi xue) with the emerging modern disciplines of archaeology, palaeography, and art history. The antiquarian standards for defining the concept of “truthfulness” are the key to conceptualising photography’s transformation of the jinshi discipline. What do we mean by a Chinese “truthful” medium, and what can we learn from it under its photographic crust? Chen Mengjia: Negotiating the Tension 126 127 between Written and Material Cultures Guangchen CHEN, Emory University, Atlanta (gchen23@emory.edu) The intellectual life Chen Mengjia (1911–1966) followed a most unusual trajectory. His youthful passion was for modernist poetry, making him a prominent member of the vibrant Crescent Moon Society. But soon he completely abandoned this path, and turned to the collecting and study of ancient artifacts. This paper uses Chen’s radical change of course to reflect on the tension between written and material cultures in the extreme political pressure of 20th-century China, and rethinks the underappreciated implications of the collected objects in modern Chinese intellectual history. Chen’s career trajectory was influenced by the groundbreaking archaeological findings of the time and by national crisis, as well as by the influence of his mentors Rong Geng and Wen Yiduo, and in particular, the ideological control that was advanced to an unprecedented level during the Anti-Rightist Campaign and the Cultural Revolution. Chen retreated to the past and to silent objects, with a particular obsession for Ming-era furniture. His tragic suicide at the onset of the Cultural Revolution signified a moment of unresolved and unresolvable crisis that upended Chinese intellectuals in the turbulent twentieth century. It also raises the question of how silent objects could resonate with written culture, if collecting is also seen in broader and poetic terms. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) The Inscribed Surface: Kuancai Lacquer Screens Panel 32 Fri 11:30–13:30 and Qing Local Officials Lecture room 13 Lianming WANG, City University of Hong Kong Sense and Sensibility: Produced in China’s coastal areas of the seventeenth century, a type of folding Meaning and Aesthetics of screen decorated with a technique of incised lacquer, known as ‘kuancai’, was Confucian Literati Gardens a popular gift among the low-ranking but wealthy Qing officials (who often engaged in local commerce) on China’s maritime frontier. Going far beyond Chair: Jongsang SUNG, Seoul National University the status of being collectible objects, these screens were inscribed by officials Discussant: Shanshan LIU, Beijing University of Civil Engineering and Architecture to celebrate the retirements, birthdays, and academic successes of the impe- (liuss10@hotmail.com) rial candidates who later became officials. The gratulatory texts engraved on Gardening, commonly referred to as the seventh art, is a mental the screens’ rear, often with details of the officials’ names, years of imperial art that reflects the characteristics and trends of a specific region examinations, and the titles of their civil service, transformed the ready-made screens into public stages of political manifesto. This paper attempts to un- (country) and era along with painting, poetry, and architecture, derstand how these officials asserted their growing claim to power through meaning a place where nature, art, and life are implied. As such, this double-sided, visual as well as inscribed object; and how this image-text the garden, which is a place where the living culture and art of combination resituates the public display of personal authority and political a society and era are gathered altogether, is not only a passive alliance in comprehensive terms that allow us to rethink its materiality. As this function of visual beauty or relaxation, but also a place to prac-paper argues, kuancai screens responded to the pictorial tradition of ‘Elegant tise care for life, express and share values of the time and aes-Gathering’ that had flourished in Beijing since the mid-Ming dynasty with new thetics of individuals. Thus a garden is the place where not only mechanisms of an objecthood staged for political networking and alliance. practical and functional use, but also artistic and philosophical meaning is emphasised. In short, gardens meet and accommodate the essential need and desire of human beings. In this panel, re-evoking the questions concerning the mean-128 129 ings and concepts of garden, we will outline what kinds of sense and sensibility the Confucian literati enjoyed and shared in the garden. While sense is something related to the rational mind, sensibility is about feeling deeply touched by emotional and/or aesthetic influences. In gardening, the former can correspond to function and/or meaning, the latter to artistic appreciation and/or expression. Through a trans-medial approach of investigating the relation of gardening to text-painting-music, this panel tries to emphasise the garden as a venue for the multi-artistic performance of Confucian literati. Exploring the specific and actual cases of historic Confucian literati’s gardens, we will explore the diverse aspects of the sense and sensibility of gardening. This panel brings together both young and well-established scholars working in the field of garden art history to explore issues around the sense and sensibility of Confucian literati gardens in Korea and China. In the later part, any issues raised will be addressed in general discussion with the audience. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Communion with the Deities: Medicinal Plants ing with the former scholars while admiring the surrounding ladscapes. And Landscaping in Chinese Royal Garden the naming of the vistas also integrated the personal experience and emotion of the owner of the garden. On this basis, the owner of the garden connect-Shanshan LIU, Beijing University of Civil Engineering and Architecture (liuss10@hotmail.com) ed the landscape narrative with various names into a clear main plot. The scenery names cited Tao Yuanming’s allusions on various occasions, enriching Enabling communion with the Deities is one of the original functions of Chi-the landscape details and forming a coherent narrative. The result shows the nese royal gardens. Early Chinese emperors always tried to pursue immortal-sense and sensibility of garden making in literati gardens in the 17th century. ity by searching for fairylands. Meanwhile, they tried to imitate the legendary environment where immortals live in royal gardens, in order to communicate with the deities and achieve immortality themselves. Therefore, the creation Aesthetics of Tea Space in Literati Paintings of fairyland became an essential theme in Chinese royal gardens. To complete in Ming and Qing Dynasties the feeling of the fairyland, medicinal plant landscaping served as an important design technique. As representatives of “celestial medicine”, medicinal Lin ZHANG, Beijing University of Civil Engineering and Architecture plants have rich symbolic meanings and are an important element in the crea-Qiuye JIN, Beijing University of Civil Engineering and Architecture tion of fairyland theme and imagery. The study of medicinal plant landscaping In the discussion of tea space in ancient Chinese painting, certain research is very difficult not only because the authenticity of plants was more likely to achievements have been obtained in the professional field. However, at pres-be destroyed, but also because people often forget the original meaning of ent, few scholars analyse and discuss the main characters’ bodies, artifacts, the plants in historical changes. By studying related literature and paintings, and the surrounding environment from the perspective of the “relationship” this research analyses the myths of Kunlun and Penglai, which are the origin between the various elements of literati paintings in the Ming and Qing Dy-of Chinese gardens, and examines the archetypes of medicinal plants origi-nasties. In fact, the elements in the tea space do not exist independently, but nating in mythological fairylands and their symbolic meanings. Additionally, interact with each other and become a “body-artifacts-environment” space sys-taking Xianglong Stone and Genyue Royal Garden in the Song Dynasty, the tem with the main characters’ activities as its centre. This system was gradually Mountain Resort of Chengde and the Old Summer Palace in the Qing Dynasty shaped in the Ming and Qing dynasties, and presented certain paradigms and as examples, the research discusses how to use medicinal plants to complete universal characteristics. Based on this, this paper takes the picture scroll as detail and theme design, organise scene structure, and develop a systemat-the main research sample and selects more than 200 paintings in the Ming and ic landscaping narrative. This research can help understand the integrity of Qing Dynasties (1570–1840). The research focuses on the main characteristics 130 131 fairyland creation in Chinese royal gardens from the perspective of medicinal of tea activities in the paintings of literati in the Ming and Qing Dynasties, in-plants, and provide reference for further research on the restoration of plants cluding the indoor and outdoor environment of artifacts, furniture, screens, in ruined gardens and for the contemporary design of healthcare landscapes. etc. In terms of research methods, it adopts the method of mutual verification of images and texts and in-depth analysis of individual cases. In short, the tea space system in literati paintings is not only ritualistic and cultural, but also Sense and Sensibility in the Chinese Literati Garden in the physical and sensory. The paintings all serve to cultivate a kind of spiritual sen-17th Century: A Case Study of the Zhi Garden in the Jiang’nan timent of the literati elite group. This is also where the paper tries to explore Region the significance of tea space in the paintings of literati in the Ming and Qing Xiao HUANG, Beijing Forestry University Dynasties. (xingying003@163.com) The literati garden is one of the main streams in the history of Chinese garden art. Literature such as poetry and prose has a significant influence on the land-Garden as a Stage for Spatial Politics: King Jeongjo’s scaping of Chinese gardens, which is reflected in two aspects: using allusions Approach and Use of the Back Garden of Changdeok Palace for scenery naming and organising the structure of the garden layout. The Jongsang SUNG, Seoul National University paper takes the Zhi Garden in the 17th century as a case study to explore how In the Joseon Dynasty, as places for cultivating and enjoying Confucian values the literati in the Ming Dynasty accomplished the “poeticisation of the garden and virtues along with natural beauty, gardens were often the exclusive prop-landscape” by using allusions to express their personal emotions and organise erty of literary scholars such as the Sadaebu 士大夫 and Seonbi. However, the structure of the garden layout following the structure of prose texts, hence there were many kings who actively used gardens. Among them, the 22nd to accomplish the landscape narrative of the garden. king of the Joseon Dynasty, King Jeongjo (name Lee san, reign 1776–1800) The Zhi Garden was named after Tao Yuanming’s poem “Zhi Jiu (Stop Drink-is one of the representative figures. King Jeongjo, who had the misfortune ing)”. Many Zhi Garden scenes are named after poems and allusions of famous to be a son of the Sadoseja 思悼世子, a tragic prince who was killed by his scholars from the past. By citing the works of former scholars in the names of father, King Youngjo, was so unstable that even the throne was threatened vistas in the garden, the owner makes people feel as if they are communicat-for some time after his ascension. In this sense, the importance he attached The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) to gardens and his active use of themplayed an important role in strength-Panel 33 Fri 15:00–16:30 ening his kingship, fostering innovation in Joseon’s literary arts, and making Lecture room 15 himself the best and wisest king in Joseon history. The garden he mainly used was the Back Garden of the Changdeok palace. This palace is considered to New Perspectives in have the most Korean spatial aesthetics among the Joseon palaces, because its Contemporary Asian Art (II) buildings and spaces are arranged to correspond exquisitely with the existing natural topography. Located behind Changdeok Palace, the Back Garden has a Chair: Mia Dora PRVAN, independent scholar, London harmonious arrangement of beautiful pavilions and ponds in a gentle natural (miadora.prvan@gmail.com) terrain, to which access was strictly prohibited for all except the king and his family. This paper will explore King Jeongjo’s approach and the way he put the Back Garden to political as well as private use. Michelangelo Pistoletto’s “Buddha”: On Mirror Images and Contemporary Buddhist Art Paramita PAUL, Leiden University (p.paul@iias.nl) In 2018, the Nieuwe Kerk in Amsterdam organised the exhibition “Buddha’s Life, Path to the Present”. Part of this show was an image by the Italian conceptual artist Michelangelo Pistoletto (b. 1933) of a life-sized standing Buddha looking into a mirror. Pistoletto created “Buddha” as part of the series “Third Paradise”, in which he imagined a new level of human civilization. This paper discusses “Buddha” through questions of mirrors as elements that hold fascination in both Western and East Asian literary and artistic traditions. Further, based on this analysis, it explores the complexities of designing a framework for understanding contemporary Buddhist art. Whether as a tool for artists, as a motif in paintings, or as a subject of theorisation (Benjamin), the mirror’s significance in Western art and visual culture 132 133 is enormous. Equally, mirror analogies in Buddhist philosophical texts are numerous, and actual mirrors are used in Tiantai and Chan ritual and medita-tive practices. Particularly, mirrors function as sacred objects on which deities dwell – the Metropolitan in New York holds a 19th-century Japanese “Magic Mirror” that reveals an image of the Buddha Amitabha under special lighting conditions. How does Pistoletto’s “Buddha” reconfigure elements from these different traditions? And how might we understand this image as a form of contemporary Buddhist art? Contemporary Buddhist art is a recent, less-studied category of Buddhist art, and its parameters have yet to be defined. This paper identifies some of the ways in which “Buddha” both represents and problematises this new field. Back to Local: Tibetan Contemporary Art and Photography à la mode Chang LIU, Ecole Pratique des Hautes Etudes – Paris Sciences & Lettres (evekhalil1995@gmail.com) The construction and deconstruction of Tibetan identity or “Tibetan-ness” as a crucial notion in the study of contemporary Tibet have been argued over using different theoretical approaches in the social sciences (Hillman, 2018). In the field of art, the representation of this Tibetan-ness engaged in the flux of culture and the context of globalisation has indeed become one of the most essential subject matters for Tibetan contemporary artists – especially artists who have witnessed and experienced the rapid change of society. Neverthe-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) less, young artists born in the 1980s and 1990s show more interest in address-Panel 34 Fri 15:00–16:30 ing their personal predicament, anxiety, or sense of uncertainty as young peo-Lecture room 2 ple than in shattering the exoticised “Shangri-la”-rised images . Contemporary art as a distinctive mode of space rupturing and conceptual reconfiguration East Asian Art in the Wake of the (Ong, 2012) becomes a vehicle for young artists to present a more diverse and 1873 Vienna World’s Fair: Collectors original perspective of how Tibet and Tibetan art can be – their hometown and Collection Biographies in shall never be reduced to a geographical concept or a Buddhist shrine, but must be seen as a land to which its inhabitants, whether cleric or lay, noble or Central Europe at the Late 19th peasant, merchant or labourer, agriculturalist or nomad are deeply attached. and Early 20th Centuries (III) Through an anthropological approach, this article hence examines this new Chairs: scenario in Tibet where young artists start to reflect on their roles, confronting Lukas NICKEL, University of Vienna the tension between traditional culture and secular society, collective perspec- (lukas.nickel@univie.ac.at) Nataša VAMPELJ SUHADOLNIK, University of Ljubljana tive and highly individualistic representation. (natasa.vampeljsuhadolnik@ff.uni-lj.si) Superflat & The Cartoon Generation within The Impact of the Vienna World’s Fair on the Carniolan Global Anime-pop Elite’s Collecting Practices of East Asian Objects Hui WANG, Heidelberg University Tina BERDAJS, University of Ljubljana (tina.berdajs2@gmail.com) In this presentation, I look into the histories and cultural legacy of the Su-This paper will explore how the 1873 Vienna World’s Fair encouraged the perflat (Japan) and Cartoon Generation (China) artistic movements within collecting practices of the Carniolan elite and influenced their perception and the framework of anime-pop in their local and global contexts. I use the term reception of East Asian heritage in the area of present-day Slovenia. The study anime-pop to refer to the global art and visual culture currents gaining in focuses in particular on the case studies of two collectors active in the second popularity since the 1990s that are characterised by figurative language, “artifi-half of the 19th century: the collector and great patron of the arts Viktor Smole cial” colour, flattened perspective, layering technique, and iconic symbols em- (1842–1885) and the well-known Austro-Hungarian diplomat and politician 134 ployed from animation-cartoons. Facilitating this hyperreal world-making and 135 of Slovene descent Baron Jožef Schwegel (1836–1914). After their deaths, attending to rising mass demand, they have expanded beyond the boundary their personal collections, including East Asian objects, were bequeathed to of fine art to a cross-sectoral and transnational co-productive network based the Provincial Museum of Carniola, now the National Museum of Slovenia. We on the convergence of various channels and modes of production constituting will examine the connection to the World’s Fair through the viewpoint of the a contemporary creative economy. Drawing on methods and achievements nature of the objects. In the second case study, the connection to the World’s from a variety of fields from art history to media, visual, and cultural studies, I Fair will also be presented and examined through Schwegel’s direct participa-seek to illustrate the productivity as well as consequences of the massive con-tion in the organisation of the so-called “Oriental Pavilion” and his subsequent tagiosity and sustainability of popular art, artistic commodity, and artistic-sym-involvement in the organisation of the Oriental Museum in Vienna. bolic property within the context of globalisation and information capitalism. Bringing in the East Asian agency and experience, I show how the “animetic paradigm shift” is about not only the most transculturally permeable graphic surfaces of contemporary culture, but also a deeper logic of cultural production behind the transmutations of art-making, consumer culture, media environment, and the organisation of production. Anime-pop represents a reconfiguration of subjectivities amidst the “flattened” and fragmented chaosmosis of the postmodern that relies on a hyperlinked matrix of plural, infinite, transforming, interacting dimensions of cultural flow and perspectives beyond the anthropocentric hierarchy and ontological determinacy. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Missionaries as Museum Suppliers: The Relationship Panel 35 Fri 15:00–16:30 between P. B. Turk and the Rudolfinum Museum in Ljubljana Lecture room 4 Helena MOTOH, Science and Research Centre Koper Art and Street Politics in the (helena.motoh@zrs-kp.si) Global 1960s: Nakajima Yoshio The paper focuses on the particular chapter in history of Asian collections in Slovenia, when missionaries became the main suppliers of objects from and the Global Avant-Garde East Asian and South Asian countries. This practice was preceded in the 19th Chair: century by collections sent to the museum by missionaries (North America) William MAROTTI, University of California, Los Angeles and Father Knoblehar (Sudan). For East Asia, however, the first extensive col- (marotti@history.ucla.edu) lection was supplied to the museum by Peter Baptist Turk OFM (1874–1944), who was a missionary in China, most of the time in Hankou, from 1901 until the end of his life. The paper presents an analysis of recently discovered cor-Anarchic street performances in late-1950s Japan; inauguration respondence between the missionary and the head of the Rudolfinum (Proof the first Happenings in Antwerp and charging of the “magic vincial Museum of Carniola) in 1912/1913, focusing especially on the complex circle” in Amsterdam; Bauhaus Situationiste and anti-national relationship between missionaries as suppliers of museum artifacts and the art exchanges, networks and communes. In ways that chal-museum trying to become a representative provincial museum institution, lenge our imaginings of the role, place, and possibilities of art, following the examples of similar institutions in the capital of Austria-Hungary. In this correspondence it is especially interesting how Turk’s missionary inter-Yoshio Nakajima’s storied career has traversed an astounding est in “pagan” religious objects was negotiated with the more ethnographical range of locations, scenes, and movements as well as media collecting policy of the museum. In second part of the paper, the correspond-and performance modes. Nakajima repeatedly plays a role in ence and the purchasing and inventory lists included are matched to the ob-jump-starting spaces of possibility, from Tokyo to Ubbeboda, jects in the Turk collection which arrived in Ljubljana in December 1912 (now from Spui square and the Dutch Provos to Antwerp and Swe-kept in the Slovenian Ethnographical Museum) in order to reflect on the ma-den. The paradox of Nakajima’s work is that, despite its appar-terial outcome of this complex relationship in the structure and content of a ent exemplification of art’s potential to move and to transform, museum collection. 136 it has largely fallen out of accounts in which its impact might 137 have justifiably featured. Our panel presents our ongoing international collaboration working to remedy this oversight. We will be presenting a sub-set of the findings from our edited volume (Routledge, 2023) both to introduce the stakes and significance of this artist’s category-defying work, and to engage with the audience to develop subsequent possible avenues for expansion and interaction. Nakajima’s work provides a compelling case for rethinking art-historical practices and methodologies to evaluate approaches to transformations of art and politics and to their specific interrelation. Nakajima’s peripatetic practices are exemplary in their nonconformity and demonstrate the inadequacy of notions of specificity that would oppose an authentic local or national frame to an inauthentic transnational one. Conversely, they manifest a key dimension of the 1960s as a global event in the interrelation between eventfulness itself and the redrawing of categories of practice and understanding. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) When Art Grabs You: Grasping Art and Politics Yoshio Nakajima: A Japanese Artist from Sweden in the Global 1960s with Nakajima Yoshio Tania ØRUM, University of Copenhagen William MAROTTI, University of California, Los Angeles (marotti@history.ucla.edu) Nakajima’s role in Sweden proved no less radical than those of his time in Belgium and Holland, where he had pioneered happenings and energised artistic My paper addresses Nakajima through the writings of art critic Yoshida Yoshie, and political networks alike. After being compelled to leave Belgium, Nakaji-whom Nakajima attacked on the steps of an art museum in 1963. From con-ma journeyed to Sweden on the advice of Danish artist Asger Jorn, and with fused rage, Yoshida comes to appreciate Nakajima’s radical and even global an introduction to Jorn’s “crazy” brother Jørgen Nash and his artists’ com-role and the possibilities of an art practice that assaults perceptions and even mune Drakabygget (Dragon’s Lair) in southern Sweden. Nakajima became the persons. Moving through Yoshida’s contemporaneous, dissident assessment, first ever international student at the Valand Art Academy (1966–1971) and Nakajima appears as a paradoxically untimely figure of timely intervention: an active member of Nash’s dissident situationist network, the so-called Bau-strangely present, even pivotal, yet overlooked. Nakajima’s performance haus Situationiste, with whom he participated in manifestations at the Venice work in the oddly unstructured, expanding spaces of commuting through Biennale (1968) and the Documenta 5 (1972). From this provincial position trains, stations, and streets predates similar and better-known explorations by Nakajima continued to draw on his large international network, organised avant-gardists in Tokyo and beyond. His chanting, free-form, often collabora-exhibitions and performed and exhibited locally as well as across Europe and tive public performances across Europe likewise demand consideration within Japan. in the broader contemporaneous explorations of ritual, ceremony, and bodily possibility in art in the 1960s. As recognised by Yoshida, Nakajima repeatedly In 1974 Nakajima organised the “One Hundred Days’ Symposium” in the tiny played a role in jump-starting spaces of possibility, from Tokyo to Ubbeboda, village of Ubbeboda, which became a self-organised international artists’ com-from Spui square and the Dutch Provos to Antwerp and Sweden. mune. The event attracted international attention when local authorities de-I argue that Nakajima’s work presented a realised actuality of transformative, cided to bulldoze a sculpture by a Polish artist, a precedent for the notorious unbounded practices that, despite or because of their imperfect intelligibility, “Bulldozer Exhibition” that shortly followed in Moscow. allowed others to see and experience the world differently. Following that elu-I consider Nakajima’s continuing art-historical invisibility in relation to nasive actuality, in turn, reveals the potential of such art and politics to emerge tionalised art histories and practices of Nordic provinciality, and his eventual at any time – unpredictably, beyond intention or design; untimely but perhaps recognition as a “Japanese artist from Sweden”. made more graspable by a bit of openness, by attention to the unusual. In this 138 139 essay I consider Nakajima across our intertwined investigations. Following Yoshida Yoshie, I consider the relations of art, politics, and violence in the 1960s and the very possibilities of art. DAM ACT: Yoshio Nakajima in Japan 1957–1964 Yoshiko SHIMADA, University of Tokyo (yoshimada@a-net.email.ne.jp) In this paper I treat major moments in Nakajima’s entry into art, from a child-hood in a rural village in Japan, and move to Tokyo, to activities as a member of UNBEAT, and his eventual and astonishing departure to Europe (hitchhik-ing from Hong Kong to Italy). I consider his formation against socio-political changes during the period, such as the Anti-Anpo movement in 1960 and pre-Tokyo Olympic gentrification of the city, in relation to transformations in artists and art movements. I pay particular attention to Kanji Itoi, a.k.a. Dada-kan, a pioneering radical performance artist and friend of Nakajima’s, who catalysed Nakajima’s own late-1950s daily practice of street provocation. Though Nakajima insisted that he did his street actions intuitively and without preconception, I consider Nakajima’s motivations beyond his self-representations. I address his approach to Christianity, his facilitating of art study by children and people with disabilities, and his engagement with Dadaism. I also consider his lingering effects on the performance scene in Japan after his departure, including the late-1960s anarchic street performances culminating in the anti-Banpaku (World Exposition in Osaka) movement in 1969. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Friday, 15 September 2023 (day 3) Saturday, 16 September 2023 (day 4) 140 141 The Third Conference of the European Association for Asian Art and Archaeology Panel 36 Sat 09:00–11:00; Since the early 2000’s, approximately ten painted tombs were freshly discov-Lecture room 15 ered in North Korea. This paper focuses on three of these painted tombs that Pictorial Representations and were uncovered in 2020 in the Nampo and the Hwanghae regions of North Korea and aims to analyse what is learned from these previously unknown Inscriptions in Funerary Context tombs, whether from their murals, newly discovered funerary relics or style of tomb construction. It also highlights the inconsistencies among various schol-Chair: ars in the dating system of the Koguryo˘ tombs by addressing the questionable Annette KIESER, University of Münster (annette.kieser@uni-muenster.de) dating of these tombs to the 6th century AD. Navigating through Kofun Imagery: An Analysis of the Boat Depictions of Raptors and Falconry Depictions Found in Decorated Tombs in Northern Kyūshū on Liao and Jin Clothing and Ornaments Claudia ZANCAN, Ca’ Foscari University of Venice / Heidelberg University Leslie V. WALLACE, Coastal Carolina University (lwallace@coastal.edu) (claudia.zancan@unive.it) Chunshui (spring water) imagery appears on silk textiles and amber and jade The so¯shoku kofun 装飾古墳 (decorated tombs) are a phenomenon of pro-pendants, buckle plaques, and other ornaments, all of which were potentially tohistoric art that developed during the Late Kofun Period (475–710 CE) in worn during and/or associated with the spring hunt of the same name. Prac-Northern Kyu¯shu¯. This term indicates tombs that feature decorative motifs in tised first by the Khitan Liao (916–1125) and continued by the Jurchen Jin relief, engraved and/or painted on the inner and/or outer surface of the sar- (1115–1234), this hunt distinctively involved the use of hawks and falcons to cophagus, on the inner walls of the stone burial chamber, and/or on the en-hunt swan and geese. Whether as a pattern on gold brocaded silk textiles or trance of the mound. As the society of the time was non-literate, the motifs as intricate carvings on jade buckles, chunshui iconography consists of a rap-reproduced within these decorated tombs are important channels of commu-tor diving toward or in the act of taking down a large soaring or fallen goose nication to convey information about identity, society, and shared cultural as-among blossoming lotus. Although the practice of chunshui and its related pects. This paper will discuss the data personally gathered from an iconograph-iconography was distinctive to Khitan and Jurchen rulers, the use of raptors in ic and iconological analysis of the way boats are depicted in 17 so¯shoku kofun grand hunts and falconry-related imagery spread across Central Asia and into in Northern Kyu¯shu¯, i.e. the present-day prefectures of Fukuoka, Saga, and Europe at roughly the same time. This paper examines surviving Liao and Jin 142 Nagasaki. The aim of this paper is to understand how the subject of the boat 143 materials decorated with chunshui iconography, while also considering other developed artistically in this particular phenomenon of protohistoric art, why textiles and articles of adornment related to the use of raptors in Liao and Jin the boat was reproduced in a funerary context, and what information on the elite hunts. While focusing on Khitan and Jurchen cultural traditions, it will underlying culture can be obtained by analysing the style, the iconography, and compare these materials to other Eurasian depictions of raptors and falconry the links the subject of the boat has with both local and mainland symbolism. and show how they were part of larger visual vocabularies of power developing at this time. New Insights of Koguryŏ Funerary Art from Three Recently Discovered Painted Tombs in North Korea From Mighty Protectors to Humble Architectural Elements: Ariane PERRIN, Ca’ Foscari University of Venice The Transformation of Bears on Hunping (“Spirit Jars”) (Aperrin79@gmail.com) Keith N. KNAPP, The Citadel, the Military College of South Carolina The burial sites of the elite during the Koguryo˘ kingdom (37 BC–AD 668) (knappk@citadel.edu) constitute a unique collection of approximately 120 painted tombs, previous-Hunping (“Spirit Jars”) are remarkable on many counts: no two are exactly ly unseen in northeast Asia, that are scattered within proximity of the sites alike, they were unique to the Jiangnan area, and only lasted from the Eastern from the Koguryo˘ capitals, located in modern day Jilin province in China and Han period (25–220) until the end of the Western Jin (265–317). Yet another around the Pyongyang, Nampo and Hwanghae regions in North Korea. extraordinary aspect of these jars is that they are decorated with the figurines A major hindrance in the study and analysis of the Koguryo˘ tombs is the lack of of many animals. The two most frequently depicted ones are birds and bears. a reliable chronological framework. Interpretations of these tombs, in regard In this paper I investigate the symbolic roles that bears played in the logic of to archaeology and art history, have not fundamentally changed from the first the jars. interpretative framework promoted in the first half of the twentieth century Bears frequently appear on hunping that date from the Eastern Han and the and which relies a great deal on prior knowledge gleaned from the study of Wu Kingdom (220–280). Since they were known for their ferociousness, they tomb mural art, mainly from the Han period (202 BC–AD 220) in China. These almost certainly played the role of a guardian figure. Surprisingly, they often studies often applied the “centre to periphery” model, ignoring a wide range are depicted sitting upright, while holding food in one paw. Perhaps this was of different funerary practices among the various Koguryo˘ core regions. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) an allusion to the fact that the hunping were symbolic granaries – the bear is Panel 37 Sat 09:00–11:00 auspicious exactly because it will always be fed. I will also explore the myth-Lecture room 2 ic associations of bears in the Jiangnan region. Upon failing to contain the floods, the sage king Yu’s father, Gun, turned into a bear. Might that myth have Museum Archive and Collection something to do with the frequency with which bears populate the hunping? Gaps: Researching “Against the During the Western Jin, the function of bears seems to have changed signifi-Grain” cantly. Their numbers on the jars shrink and they are often portrayed as the supports of architectural structures. Some are depicted in such an abstract Chair and discussant: Kyunghee PYUN, Fashion Institute of Technology, New York way that they become more decorative than symbolic. Why did the bear lose its emblematic valence? How can gaps in museum archives and collections open up new possibilities for research into Asian art and archaeology? How might such studies be aided through fresh critical engagement with existing theories and methodologies? And where might new research techniques and approaches be formulated to address the particular challenges of investigating museum collections of Asian art and archaeology? Building on the concept of reading against the archival grain, a method originally proposed by anthropologist and historian Ann Laura Stoler, this panel will explore absences and erasures in museum collections of Korean and Japanese material and visual culture in the United Kingdom, Germany and South Ko-144 rea, and their varying implications. Different aspects of muse-145 um work will be addressed and opened up for debate in the panel’s four papers, from posing questions about the categories employed by museums to define their object collections (for example, “art” vs. “craft” vs. “ethnography”), to exploring collection gaps, as well as how details of collecting networks might be recovered where such information is not offered in existing museum records and documentation. By drawing on various methods, such as object-based inquiry and oral interviews, to research “against the grain”, each paper will critically engage with what has failed to be collected, recorded, examined, or captured by institutions. In so doing, the panel aims to discuss unconventional approaches to investigating museum practices related to Korean and Japanese objects, and to tackle the canons (or canonisation) of Asian art history. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) MK&G’s Korean collection, contrasting with the focus and direction of so-Invisible Nodes in the Museum Meshwork: Tracing the called “encyclopaedic” museums, which have acquired a higher quantity of Contributions of South Korean Donors to the Victoria and Albert Museum’s Korean Collection (1983–1993) Korean paintings. Zara ARSHAD, University of Brighton / Victoria and Albert Museum, London This paper will examine omissions and overlaps in the Korean collection of (zara.arshad@network.rca.ac.uk) MK&G, compared with similar collections amassed by European ethnographic The Victoria and Albert Museum (V&A) in London has a long-standing history museums and encyclopaedic museums. In so doing, the study aims to chal-of collecting Korean-made objects. Since its founding in the late 19th century lenge the categorisation of Korean-made objects as examples of “art”, “craft”, through to the 20th century, the museum acquired examples of Korean-made or as “ethnographic” items, and to query how re-framing or re-categorising ceramics, metalwork, lacquerware, furniture and textiles, a majority being do-such objects might open up new avenues for research. nated (either through gift or purchase) by white European diplomats, private collectors, and independent travellers. A shift occurred in the 1980s when the demographic of V&A donors started to diversify to comprise more people of Decolonising Museum Practice in South Korea: colour, especially those from the source community (Korean or Korean her-The “Modern” Collection of the National Museum of Korea itage). This was due, in part, to the South Korean government’s international Yaerim HYUN, National Museum of Korea, Seoul promotion of Korean art and design, as well as the V&A’s new collecting poli- (yaerimhyun@gmail.com) cies focusing on contemporary acquisitions. In the 1930s, the Yi Royal-family Museum collected modern Japanese art-Drawing on anthropologist Tim Ingold’s theory of meshworks, this work-in-works. These objects were later assumed into the National Museum of Korea progress paper will explore the contributions of (South) Korean donors to the (NMK) holdings and catalogued by NMK simply as “modern”. Since it is as-development of the V&A’s Korea Collection. The study draws particular atten-sumed that the objects were originally acquired in Korea under the force of tion to contemporary designers and makers, who were approached by V&A the Japanese colonial government, the Japanese artworks were not publicly curators in the early 1990s to help meet gaps in the museum collection. Ce-displayed by NMK until 2002. ramicist Shin Sang-ho, for example, assumed a curator-like role for the V&A, A year prior to their exhibition, the NMK requested researcher Lee Kooyeol sourcing, identifying and selecting contemporary ceramics for the Museum’s to study this “modern” collection, with the resulting paper focusing on the holdings. Fashion designer Lee Young-hee, meanwhile, was commissioned to colonial history of its acquisition. Meanwhile, the 2002 display, titled “Japa-146 re-create Korean historical garments to complement those already in the V&A nese Modern Art Collection of the National Museum of Korea”, omitted the 147 Collection. The contributions of these individuals, which are not wholly re-colonial perspective emphasised in Lee’s paper and, instead, approached the flected in archival records, nor fully explored in existing scholarship, will be collection as a resource to understand modern art. Coincidentally, the display examined in detail here for the first time. was organised in “the year of the exchange between Korea and Japan”, when both countries hosted the 2002 FIFA World Cup. Twelve years later, however, another exhibition held at the NMK, “Collecting Asian Objects in Colonial “Art” vs. “Craft” vs. “Ethnography”: Re-thinking Korean Korea 1910–1945”, re-directed focus on the colonial histories associated with Objects through the Collection of the Museum für Kunst museum objects. und Gewerbe Hamburg, Germany Drawing on these display examples, this paper aims to add a more nuanced Lina Shinhwa KOO, University of Brighton (shinhwa.koo@gmail.com) view to the growing body of literature about Korean museum curatorial and research practices related to the Japanese colonial period. Though evidence The Museum für Kunst und Gewerbe Hamburg in Germany (MK&G), also about these cases is scant, the limited material available can be used to initi-known as the Museum of Art and Craft Hamburg, was initially built upon a ate discussions around how museums in Korea might engage with colonial mission to provide exemplary models for design industries and trades, and to histories and decolonising methods through critically reflecting on their own shape public tastes, like other 19th-century museums of the type. As part of institutional histories. this objective, about 60 Korean objects have been collected by the museum since the late 19th century, objects that can be used to build an understanding of how “Korean arts and crafts” have been interpreted in a European context. Compared to the Korean collections in Germany’s ethnographic museums, several object groups – such as clothing, maps and books, ritual objects, and daily utensils – are absent in MK&G’s Korean collection. This, instead, extensively concentrates on ceramics like Goryeo celadon and white porcelain, categories of objects that are already highly regarded and widely recognised as “Korean art” or “Korean craft”. Additionally, only two paintings feature in The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Expanding Design History Narratives: South Korean Panel 38 Sat 09:00–11:00 Factory-made Industrial Ceramics in the Victoria Lecture room 4 and Albert Museum’s Korean Collection New Aspects of Dasom SUNG, Victoria and Albert Museum, London (sungdasom@gmail.com) Ancient Japanese Society Ceramics form a core part of the Korean Collection at the Victoria and Al-Chair: bert Museum (V&A). Since the first porcelain object from Korea entered the Mark HUDSON, Max Planck Institute of Geoanthropology, Jena (hudson@shh.mpg.de) Museum’s holdings in 1906, the V&A has consistently collected Korean-made ceramics – from Goryeo celadon and Joseon blue and white, to buncheong ware, and contemporary studio pieces. Yet Korean factory-made industrial ce-The Sea at the Dawn of Jōmon Culture: IRIAE’s ramics have maintained a relatively low profile in the museum’s holdings, Archaeological Excavations on Tsushima Island resulting in inevitable collection gaps. Daniele PETRELLA, International Research Institute for Archaeology and Ethnology, Using a tea set sourced and acquired by the author for the V&A in 2018, this Naples (daniele.petrella@iriae.com) paper will explore the place of South Korean factory-made industrial ceram-Japanese prehistory represents a vast field in which to develop new archaeo-ics in the V&A’s Collection. The objects were produced in the 1960s by Hae-logical research. This is because there are still numerous questions that need ngnam, a Korean ceramic factory established in 1942. Following the Korean to be answered to better clarify the evolutionary dynamics of the cultures that War (1950–1953), and in accordance with the South Korean government’s ex-characterised it. port-oriented industrialisation policies, Haengnam expanded its production focus from traditional white porcelain to Western-style dining wares. It con-Those most under analysis are related to the origins of the Jo¯mon culture, a sequently imported high-quality British transfer papers featuring a rose pat-subject that cannot be separated from human contacts and the relationship tern, a floral design that rapidly gained popularity in the Korean market until with the surrounding environment, i.e. the Korean populations and the sea. the mid-1980s, becoming the most emblematic example of Korean mass-pro-Although the importance of the relationships that the Jo¯mon People had with duced ceramic wares. their Korean neighbours is now recognised, there is still debate about the These under-researched objects played a significant role in connecting the in-nature and extent of these contacts. The proposal, therefore, is to delve into a 148 still underdeveloped aspect: their relationship with the sea. What was the lat-149 dustrial design cultures of South Korea and the UK in the 1950s to the 1980s, a period of economic growth, military dictatorship, and international expanter’s real role in the life of the Jo¯mon People? How did they adapt at the dawn sion in South Korea. The object biographies of the V&A’s Haengnam pieces of the Holocene, which saw the first effects of the melting of the glaciers? How can be used to tease out these narratives, all the while reflecting how this did they get around and what vessels did they use? What were kaizuka actually museum has, simultaneously, been able to bridge a gap in its collections. and what was their significance? The undersigned and the IRIAE have developed a new project of terrestrial and underwater archaeological excavation and investigation, precisely in relation to these issues, identifying the island of Tsushima (Nagasaki Prefecture) as a crucial point at which to search for answers that can help clarify this complex situation. The excavation areas are the sites of Meotoishimae and Ongau-ra, both facing the Korean coasts, and responding to the geomorphological characteristics of possible landfalls and/or coastal settlements. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Burning Questions: The Ogata Archaeological Site Anthropomorphic Haniwa on Display Outside Asia: and Kofun Period Ironworking The Case of the British Museum and the Musée Guimet J. Scott LYONS, Kyushu University Elisabetta COLLA, Lisbon University The Ogata archaeological site in the modern Osaka Prefecture, Japan, has This paper aims to provide a brief overview of the anthropomorphic haniwa come to be seen as representative of large-scale blacksmithing sites and tech-of the Kofun period (ca. 250–600 CE) in Japan and preserved in European nology of the Middle and Late Kofun Period, and many artifacts related to collections. The essay will mainly focus on the collection of anthropomorphic ironworking have been unearthed from hearth features there. Accordingly, haniwa preserved at the British Museum and at the Musée Guimet. This con-many of these hearth features are typically interpreted as remains of ironwork-tribution is divided into two parts: the first centred on the archaeological con-ing hearths. However, other pyrotechnologies were also practised at and near text and the second trying to delineate a brief categorisation of the anthropo-Ogata, and so the tendency to view all pyrotechnological features as relating morphic haniwa as well as pinpoint their importance for the reconstruction to ironworking has the potential to distort our understanding of Middle and of Kofun period funerary practices and society. Late Kofun Period ironworking technologies. Haniwa are ceramic objects that were placed in rows in large quantities on This presentation will reexamine the blacksmithing remains unearthed at the surface of kofun, and generally used to transform the tomb into a ritual Ogata, paying close attention to the variety of production activities conducted precinct. The Kofun period was particularly important for the formation of the there, as well as its long-term trajectory as a place of technological and eco-Japanese state. Both archaeological and ethnographic studies have provided nomic exchange in close proximity to the political centre of the Japanese ar-a more and more detailed description of the diverse typology of anthropo-chipelago. This revised interpretation of the site clarifies not only the changes morphic haniwa, dividing them not only by gender, but also by social status in ironworking technology seen at Ogata and in the Middle and Late Kofun and profession. The iconological method of analysis of these objects not only Period more broadly, but also the ways in which “specialist” workshop sites in provides valuable information on the artifacts per se, but also sheds light on this period are integrated in exchange networks of varying sizes through both the culture of Japanese society in the Kofun period. their specialist and peripheral production activities. De-Escalation Strategies and Identity in Kofun Period Japan 150 151 Britta STEIN, Martin-Luther-University Halle-Wittenberg (britta.stein@japanologie.uni-halle.de) The middle Kofun period (5th century CE), was a time of profound changes in society. It is characterised by a stark increase of weapons and armour among the burial goods, while the importance of non-military objects such as mirrors and agricultural tools decreased. This increased importance of military equipment coincides with the introduction of the horse and objects linked to mounted combat. As combat with heavy cavalry is spreading throughout north-east Asia during the 3rd and 4th century CE and Japanese written sources from the 8th century point to the Wa people getting involved in military activities on the Korean Peninsula, Japanese archaeologists think the horse was introduced out of military necessity. There is, however, a distinct lack of protective gear for horses and an equal scarcity of skeletons with traces of injuries that would indicate that mounted combat actually took place on the Japanese Islands. The lack of Kofun-period seagoing vessels furthermore raises the question of whether or not it was possible to ferry large contingents of mounted warriors to the Korean Peninsula. This paper will analyse how the distribution of weapons and armour as well as other prestige objects was utilised by the Kofun period elite as a means for de-escalation and the strengthening of a shared identity. It will show how objects imported from the Eurasian mainland were hybridised to conform to local needs and how the horse and armour were used not for mounted combat but to display social status and a shared identity. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Panel 39 Sat 09:00–11:00 Curating the Astral as Embodying the Futural – Lecture room 13 A Constellation Map and a Full Moon in the Fourth Leaf Alternative Insights and in Min Qiji’s Woodblock Print for the Romance of the Western Chamber Studies in Chinese Art Tiantian CAI 田田蔡, University of Wisconsin-Madison (tcai34@wisc.edu) Chair: Maja VESELIČ, University of Ljubljana Regarding the contentious mystery that the fourth leaf of Min Qiji’s album (maja.veselic@ff.uni-lj.si) about the Romance of the Western Chamber exhibits, this paper proposes a possibility that the circle with a celestial chart represents an image of a full moon with an astrological navigation map. Through an analysis of the visual Colour ‘qing’ 青 in Ancient China: Language, Materiality and Cosmological Thought elements and the examination of the textual and visual correspondence regarding the dramatic narration, the possible interpretation can, on the one Liting YANG, École Normale Supérieure, Paris hand, explain the visualisation of the time and location of the ritual events (liting.yang@ens.fr) therein, which shows an underlying logic that Min adopted to arrange the Far from being reduced to a physical and perceptual phenomenon, colour album. On the other hand, taking into account the symbolic meaning of the is a cultural construct and the colour terms, closely linked to the daily life of moon and a star map, it renders a nuance for the predetermined encounter individuals, are part of our cultural life. The colour term ‘qing’ in classical between the lovers in the drama, revealing the imaginations of the connection Chinese refers to a colour that includes all the shades between blue and green between celestial entities and subjects, and indicating effable conditions that and sometimes even goes as far as black. With a focus on the history of colour usher foreseeing futures. Moreover, given the details that Min Qiji hides in his in society, this paper explores how a particular culture categorised a particular integral design and the dense information that could only be decoded and chromatic phenomenon, the place of the colour ‘qing’ in the language system, interpreted by employing special expertise in astrology, the print reflects an its practice in material culture and the cosmological thought it is associated elite fashion embraced by literati in the late Ming periods. with. From a linguistic perspective, this paper deals with the semantics of the col-Popularising Faith and Distributing Beauty: our denomination and the emergence of the colour category ‘qing’, with par-152 The Challenging Early Modern Popularisation 153 ticular attention to philological texts, inscriptions and palaeography. From a of Catholic Art in China and the Philippines material cultural perspective, it examines the acquisition and fabrication of the colour ‘qing’ in ancient Chinese society, drawing on technical collections Antonio DE CARO, University of Zurich (antonio.decaro@khist.uzh.ch) which describe the diffusion of pigments and dyeing techniques, the production of textiles, and the use of colours in everyday material life. Since the col-In the mid-16th century, Saint Francis Borgia S.J. (1510–1572) promoted the our ‘qing’ was associated with the five elements from the time of the Warring reproduction of various replicas of the celebrated Salus Populi Romani Ma-States, I try to show how it served as an element of the cosmological theory donna as a global missionary evangelical tool. During the same period, Mari-which imposed a construction on the set of thoughts relating to colour and an paintings and other Catholic images reached various distant geographical ritual practice. areas, including China, Japan, and India. Jesuit missionaries, and other Catholic missionaries, including Dominicans and Franciscans, eased the diffusion of these artworks in order to promote Catholicism. This initial evangelical aim was accommodated to the specific needs of local communities who engaged with these artifacts in various ways. This was the case with the so-called ‘Hispano-Philippine’ ivories produced between the early 17th century and the 18th century. Manufactured mainly by skilled Hak-ka artisans and craftsmen, coming mainly from Fujian province, and residing in the Philippines, these ivory artworks combined European Catholic iconography with Chinese or ‘Asian’ artistic skills, iconographic details and, in some cases, facial features. These ivories also included depictions of more recently canonised saints like St. Francis Xavier S.J. (1506–1552) or St. Rose of Lima (1586–1617). Recent scholarship has emphasised various aspects of the production of these artifacts, including migration, market-related issues, and the immediate availability of specific materials. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) During the Ming dynasty first, and the Qing dynasty later, Jesuit missionaries Panel 40 Sat 11:30–13:30 in China promoted the diffusion of various devotional images. Oftentimes the Lecture room 15 popularisation of these images was intertwined with several miraculous tales relating to their salvific and apotropaic power. Naturally, the popularisation of Interconnectivity of Art, Society, these artworks also led to misunderstandings that sometimes jeopardised the and Politics in Early China initial hopes of European Catholic missionaries. In other cases, these same artworks were reproduced in situ combining both local characteristics, even Chair: Keith N. KNAPP, The Citadel, the Military College of South Carolina Buddhist iconography, and European ones, as in the famous case of the Xi’an (knappk@citadel.edu) Madonna or Salus Populi Sinensis. My paper will display a few case studies representing this complex process of Transformation of the Burial System in the Middle Yellow accommodation, artistic production and problematic popularisation of Catho-River Region during the 2nd Millennium BCE as a Reflection lic images in early modern China and among early modern Chinese commu-of Changing Political Strategies nities. Jakub MARŠÁLEK, Charles University, Prague (marsjaff@ff.cuni.cz) The development of early states in the Central Plain area as represented by their presumed centres – Erlitou, Zhengzhou, and Anyang – reveals traits of considerable continuity, but also discontinuity. Both this continuity and discontinuity are reflected in burial customs associated mainly with graves of the elite. Scholars are mainly puzzled by the fact that the graves of the highest rank known up till now from Erlitou, Zhengzhou, and other contemporary centres are far from matching expectations based on the magnitude of the royal tombs in the later Anyang period. While – mainly in the case of the Zhengzhou – this picture may be partly due to the state of archaeological research, I will suggest that it can be explained using the so-called dual-processual theo-154 ry. I will show that the transition from the Erligang (Zhengzhou) to the Yinxu 155 (Anyang) period is characterised by an increasing prominence of the elements which the above-mentioned theory associates with the so-called network or exclusionary strategies used in competition between individuals and the kin groups affiliated to them. In the burial system, it is reflected not only in the increasing size of the graves and of the quantity of their burial goods, but also in the transformation of the spatial layout of the graves and creation of the formal cemeteries reflecting deliberate attempts at creating large and clearly defined kin groups. The Concept and Society of the Fenghuangzui Prehistoric City Xiyun YU, Wuhan University (yuxiyun@aliyun.com) The region around the middle reaches of the Yangtze River is the area where cities first appeared in China, and it is also the region where the most prehistoric city sites have been discovered. So far, twenty sites have been discovered in all. The site of Fenghuangzui in Xiangyang has been explored and excavated in recent years. The geographical coordinate of its centre is 111°59’20.39”E, 32°14’42.67”N, and 94 metres above sea level. The Fenghuangzui city site is nearly square in the plane, surrounded by city walls and a moat outside the city walls. The total area of the site is around 150,000 m2. There are two ancient riverbeds distributed in T-shape inside. Its The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) central highland was once the main residential area. There are several ruins Panel 41 Sat 11:30–13:30 found outside the city site distributed around Fenghuangzui City, with a total Lecture room 2 area of about 500,000 m2. According to the C14 dating data, it was built in the early Qujialing culture around 5,200 years ago and was abandoned in the Receptions of Art: Meishan culture around 4,000 years ago. It established the basic planning pat-From Japan to Europe and Back tern of ancient Chinese cities. Chair: From 2020 to 2021, more than 1,000 square meters were excavated in the Hans Bjarne THOMSEN, University of Zurich (thomsen@khist.uzh.ch) southern part of the city, mainly revealing a courtyard of the Shijiahe culture. F5 is located in the middle part of the courtyard. It is presumed that they belong to three nuclear families respectively, and that these three families form Public Lectures about Japanese Art in Late Victorian an extended family. F5 and other related relics form an entirety, reflecting the and Edwardian Britain, 1963–1915 settlement form of early civilization. Massimiliano PAPINI, Independent scholar, Florence (massimiliano.papini@gmail.com) Different Spheres of Jade Production The British fascination with Japanese art became a recurrent theme in various and Consumption of the Liangzhu Culture aspects of public life and leisure activities in late Victorian and Edwardian Britain and has been mostly associated with a static and de-historicised image Tansis Darien GARCIA RUBIO DE YCAZA, Shandong University (tansisy@yahoo.com) of Japan. While most studies concerning this transnational relation only take into consideration museum collections and events of global magnitude such The Liangzhu culture developed in the Tai Lake region between 3300 and as world’s fairs, this paper will provide a detailed account of public lectures 2300 BCE and is regarded as the most advanced jade culture of the Chinese about Japanese art organised in both urban and peripheral Britain to better Neolithic. Remarkably, many of the most important discoveries of this culture illuminate the ways in which people in Britain encountered Japanese visual (e.g. the elite cemeteries of Fanshan, Yaoshan, Fuquanshan, Sidun, etc), have and material culture in a more familiar environment, such as local cultural delivered an incredible wealth of jades in specific forms like the cong tubes, institutions, mechanics’ institutes, and libraries. the yue axe, and the discs bi, among many others. These jades (and the as-Drawing upon archive material and late Victorian and Edwardian newspapers, 156 tonishing designs of the mythical beast and the sacred man commonly repre-157 sented on many of them) have been interpreted as evidence of a ritual system this presentation will discuss public lectures that were mainly delivered by in-based on jade and the “shamanistic” nature of the rulership of the Liangzhu dividuals with direct experience in, or specialist knowledge of, Japanese histo-elites. On the other hand, an almost non-explored aspect of the Liangzhu ry and culture in front of an interested audience. Lecturers such as Christopher jade culture is the much extended use of jade among the Liangzhu common Dresser (1834–1904), or Laurence Binyon (1869–1943) often toured through-people, who evidently had easy access to certain types of jades like jade beads, out Britain displaying collections of Japanese art, bought at the London 1862 jade zhui and other ornaments. In this paper, I will explore the different pat-Exposition (Dresser), or borrowed from the British Museum (Binyon). As they terns of jade production and consumption of jades among the Liangzhu, en-were often part of national or international tours, these lectures demonstrate compassing both elites and commoners, emphasising the role of jade as a tool the close link between the fascination with Japan experienced in both ur-for social differentiation through the existence of a very rigid set of sumptuary ban and rural Britain, proving that even peripheral regions were part of such laws for certain types of jade, and the role of jade and its shared value between transcultural phenomena. Ultimately, this paper aims to suggest that, at least elites and commoners as an ideological and economical integrating tool for from the early twentieth century, Japanese art was able to slip out from the the whole of Liangzhu society. monopoly of the static and de-historicised “Old” Japan. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Expedition, Collection, and the Curation of “World Art” Panel 42 Sat 11:30–13:30 in Japan around 1970: From Expo 70´ to National Museum Lecture room 4 of Ethnology Dance – Intangible Living Heritage Ruri KAWANAMI, Free University of Berlin / Humboldt-University of Berlin (ruri.kawanami@fu-berlin.de) between Materiality This paper deals with the ethnographic and artistic endeavours in collecting and Embodiment and exhibiting objects categorised as “World Art” on the part of the Japanese Chair and discussant: artist and curator Taro Okamoto (1911–1996), who initiated the collection in Waheeda BANO, University of Sindh, Jamshoro preparation for the World Exposition 1970 in Osaka. While the artist’s own engagement at the Expo 70ís frequently mentioned in art-historical research, especially with reference to his monumental archi-In the multi-disciplinary context of the conference, focusing on tecture-sculpture complex Tower of the Sun, a critical examination of the col-art and archaeology as object-based sciences, this panel takes lecting activities undertaken by the expedition team ( Expo 70´ Ethnological the perspective of visual arts in their varied forms. In so doing, Mission, EEM) and the collaborative, yet troubling negotiation process by the the panellists relate perspectives that the study of object-based Okamoto-led curatorial team (Research Institute for Contemporary Art, Gen-arts adds to those offered by the study of visual performative dai Geijutsu Kenkyu¯sho, GGK) in putting together the “World Art” collection, arts. In particular, addressing the visual corporeal art of dance still remains a desiderate. of India involves exploring various pathways with new meth-The EEM collection was intended both to serve as exhibition pieces at Expo odologies: relating art, architecture, archaeology, performative 70ánd to form a grounding basis for a first ethnological museum in Japan, history, movement, image, object, and body. which was founded as the National Museum of Ethnology in Osaka in 1974. My paper will focus on Okamoto in his role as “Artist as Ethnographer” (Hal In her paper titled “The evolution of Indian Dance in inter-re-Foster, 1995) in this process. By juxtaposing the EEM expedition report and lation with history and archaeological sources”, Prof. Dr. Choo-curatorial concept papers written by the GGK, as well as showing several ob-damani Nandagopal covers history, archaeology, art, dance, jects from the total of 2500 collected pieces in the expedition, I aim to contex-158 and architecture, illuminating the emergence of contemporary 159 tualise the idiosyncratic concept of “World Art” embedded in the works at the 1970 Expo as a product of a fruitful theoretical exchange between ethnologi-classical dance forms from a complex integration of these over cal and artistic discourses. A critical re-evaluation of their mode of represent-various stages in history. In her paper “Art and Architecture: ing world arts as arts of “others” can shed new light on current discussions An intrinsic Sacral – Space – Body relationship”, Dr. Rajyashree around the topic of world art / global art historiography. Ramesh presents a unique movement-analytic methodological approach akin to an archaeological digging to excavate the primordial relevance of embodied practices, from outer form parallels in dance and sculpture to inner form-space parallels in dance and dynamic space. The third paper, “The Stage – A Canvas. New Insights into the Interaction between Dance and Visual Arts in South India”, by Dr. des. Sandra Jasmin Schlage, investigates different ways in which dancers interact with (imagined) images projected onto the performance area. Dr. Isabella Schwaderer analyses photographs from the Weimar Republic to the Nazi era exploring the interaction of dance movements and poses in her paper “Frozen Movements – Dazzling Emotions. South Asian Dancers in German Photography 1920–1938”. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) The Stage – A Canvas: New Insights into the Interaction movement that constitute dance traditions, and traceable to the intrinsic re-between Dance and Visual Arts in South India lationship between Space- and Body-Architecture at the level of innermost movement. Finally, drawing from the worldview underlying Va¯stusá¯stra, the Sandra Jasmin SCHLAGE, University of Bonn (schlage@uni-bonn.de) Indian science of architecture, my paper will reflect upon the relationship between Sacral-, Space- and Body-Architecture, and the notion of dynamic space The close affinity between dance and visual arts in South Asia has been ac-as the fundamental source linking art and architecture. knowledged by practitioners and researchers alike. According to the Citra-su¯tra, the guidelines on the art of image making compiled in the Sanskrit trea-tise Vis∙n∙udharmottara Pu¯ran∙a “Without a knowledge of the art of dancing, The Evolution of Indian Dance in Inter-Relation the rules of painting are very difficult to be understood.” (Kramrisch 1928, with History and Archaeological Sources 31). This quote implies that not only painting, but also other types of imagery were inspired by dance performances. However, the other direction of Choodamani NANDAGOPAL, Jain University, Bangalore (choodamani.nandagopal@gmail.com) influence from sculpture to dance exists as well. The so-called revival of the classical East Indian dance tradition as Odissi relied on temple sculpture for Similarly to sculpture, painting and architecture, dance as a classical heritage the reconstruction of dance poses and movements. of India has also had its historical development. Since the early era of civilization, there has been an Indianness that is strongly expressed through music, In contrast to the above-mentioned type of connection between performance dance, theatre, architecture, sculpture, painting and temple arts, and codified and dance representation in visual arts, this paper will explore another in the tangible and intangible cultural heritage. dance-image relationship which has not yet been addressed in academic research: The space ways in some Indian dance traditions are linked to visual Dance as visual poetry is as dependent on space as sculpture, painting and ar-ideas as well. Accordingly, the stage or space where the performances take chitecture. The exploration of this nature of Indian art is successfully implied place might be conceived as a canvas on which a picture becomes manifested. in the integral formation of Indian temple architecture. But for the varied pos-This paper addresses multiple dimensions of this type of dance-image rela-es of dance, Indian sculptures and their placement in the architectural space tionship, for example, the different categories of images, abstract or figural, would have become monotonous, with the repetition of the same bhangas. which are projected onto the horizontal plane of the stage. Thereafter, oppos-The sculptural artist very intelligently made use of dance, making Indian aring forms of interaction of dancers with these images will be analysed based chitecture and sculpture inseparable from dance. The structural temples are 160 on two case studies from South India. the best preserved sanctuaries for those with a keen interest in studying the 161 performing and visual art forms. When viewed in their totality, temples in India can thus rightly be considered Art and Architecture: the cradle of Indian art forms. Inscriptions in particular are significant archae-An Intrinsic Sacral – Space – Body Relationship ological sources for tracing dance and its facets, continuity, textual references, Rajyashree RAMESH, Global Music Academy Berlin or names of temple dancers who performed in the particular temple where (natyam@aol.com) the inscriptions are found. Excavated archaeological sources from ancient My paper formulates new research vistas, approaches and methods in study-sites reveal to us the nature of practising traditions through historical times. ing Indian art by drawing attention to excavations that living traditions, here Drawing from these, the paper will look into how Indian Dance did not evolve specifically dance, enable. In so doing, it unravels the relationship between art in isolation, but together and in inter-relationship with all art forms, material and architecture at a fundamental functional level. and intangible alike. Akin to archaeological digging in a metaphorical sense, I present a methodological approach that can be defined as a movement-analytic excavation. The outermost layer is the relationship most evidenced between dance and Frozen Movements – Dazzling Emotions: sculpture. The momentary capture of dance movements in stone through var-South Asian Dancers in German Photography 1920–1938 ious periods of history and eternalised in temples tells us how the dancing Isabella SCHWADERER, Universität Erfurt body has been the inspiring source for the sculptor, as much as the sculptor’s (isabella.schwaderer@uni-erfurt.de) product has been for dance practitioners. Two relatively young arts developed in parallel at the beginning of the 20th However, digging below this outer layer of form parallels, we stumble upon century and cross-fertilised each other - photography and expressive dance. an intrinsic and embodied relationship between art and architecture at a more Especially in Germany, photography was a welcome means for dancers to primordial level. Taking Space Harmony principles as the point of departure, achieve broad impact beyond the stage. Images of often scantily clad bodies I lay out with examples a dynamic form-space relationship, which is not only in leaps or expressive positions explored the limits of what was physically epitomised in sacral architecture but inherent in the very fundamentals of possible and broke with strict moral codes regarding the display of (primarily The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) female) bodies. From movie posters to cigarette collection cards, they were Panel 43 Sat 11:30–13:30 omnipresent and emanated their monochrome glamour. Lecture room 13 Particular interest in art forms understood as “primordial” led to an exchange New Studies in Iconography with non-European dancers, whose art was perceived as superior because of and Visual Imagery their venerable tradition. From the 1920s, artists from South Asia were also increasingly present on European stages and in the studios of star photogra-Chair: phers. They pursued their strategy between stage success and reconfiguration Nataša VISOČNIK GERŽELJ, University of Ljubljana (natasa.visocnik@ff.uni-lj.si) of a movement vocabulary in the context of religious and national reform movements. An analysis of images of Indian dancers from the Weimar Republic to the Nazi era explores the origins of stereotypes and the interaction of Merging the Demonic and the Divine: Screen Painting dance movements and poses in front of the camera in the context of a broad “Netherworld on the Sea” (Haesangmyeongbu-do) commercialisation of the media of dance and photographs. Images in archives in the National Folk Museum of Korea around the globe tell stories of expulsion and escape preceding and following WW2. Jihyeong LEE, Freie Universität Berlin The 19th-century eight-panel folding screen in the National Folk Museum of Korea, currently titled “Netherworld on the Sea” (Haesangmyeongbu-do), displays an intriguing array of imaginary supernatural grotesques, the likes of which have been hardly found in Korean Joseon art history. Aligned with the Buddhist narrative of Ha¯rı¯tı¯’s conversion to Buddhism, the screen is, as of now, the only Korean creation that pertains to the pictorial theme of Raising the Alms-Bowl ( jiebotu), and the only extant representation of this theme which is rendered in multi-panel screen format. Despite its rarity, the painting is surprisingly little known. In my presentation, I re-identify the screen’s hitherto falsely defined icono-162 graphic elements and highlight its multivalence as an artistic production an-163 chored in entanglements of intellectual, economic, and cultural phenomena that were concurrently present in the late Joseon art world. To do so, I follow the historical trajectory of the Korean discourse on the supernatural that took a novel turn in the late Joseon period, and examine the grotesque images transmitted through the brisk international trade which had a direct bearing on the creation of this screen. Lastly, my presentation will reconstruct its production by scrutinising its resemblance to the late Joseon Yojiyeondo-screens, a unique Korean invention that combines the illustrations of Xiwangmu’s banquet and the Taoist Immortals’ crossing of the sea. This will invite us to meet the anonymous witty artist who conjured up the battlefield of the supernatural grotesque by resourcefully replacing the joyful Taoist deities with the hideous demonic soldiers. Outside-in and Inside-out: Reconsidering the Representation of Foreigners in the Art of Tang China Kyoko NOMOTO, University of Oxford (kyokonomoto7@gmail.com) Foreigners – typically as grooms, guardians, entertainers, visiting envoys and tribal leaders offering tribute to the Tang – had notably become a subject of interest in early Tang visual representation, appearing as mortuary figurines, in tomb murals and paintings. They are constructed consciously with a set of particular visual vocabularies to mark them as foreign, such as a combination The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) of deep eyes, a large nose and a bushy beard. In addition to facial features, Panel 44 Sat 15:00–16:30 hairstyles and gestures can serve as ethnic markers. The main focus of previ-Lecture room 15 ous scholarship has been on differences distinguishing foreigners from the Han to confirm that the Tang aristocrats were eager to create an image of a Material Worlds: Life History cosmopolitan world. A closer look, however, reveals that in the majority of of Objects in the Shaping of the cases, foreigners are not only marked by differences but also by similar Social Realities (I) features to those of the depictions of the Han. In this presentation, I especially focus on clothing, which often serves as a common feature between foreign-Chair: ers and the Han. I propose that combining features of both differences and Chin-Yin TSENG, Dunhuang Academy (chinyintseng@163.com) similarities significantly characterises the visual scheme of foreigners in the Discussants: early Tang period. I discuss further the significance of this visual scheme in Xuan CHEN, Peking University the light of Tang politics, with particular attention to two aspects – the greater (xuan_chen@pku.edu.cn) Ruiliang LIU, British Museum presence of foreigners among the Tang elite and the frequent use of clothing (rliu@britishmuseum.org) as a political gift. The making of objects, in the form of artifacts or artwork, is how Conformity and Creativity in Expressive Animals Figures humans make sense of the world we live in. As societies con-from Bumiayu Temple Complex in Sumatra, Indonesia struct their material worlds through the making of things, their Nainunis Aulia IZZA, Universitas Jambi /Leiden University creation, use, circulation, collection, and discarding all have a (nainunis@unja.ac.id) role in the configuration of social realities and cultural identi-The Bumiayu temple complex in South Sumatra Province, Indonesia, has rich ties. This back-to-back panel brings together archaeologists, art sculptures and ornaments depicting Gods, mythological creatures, animals, historians and cultural anthropologists in a cross-disciplinary and plants. Among those sculptural and ornamental reliefs are expressive animal figures sculpted as statues or part of a statue, parts of temple buildings, discussion to make sense of past and contemporary societies and ornaments on temple walls. These animals are flashy objects among other through the study of objects as remnants of human practices. 164 objects because they have a range of facial and body expressions. This study Using various life history approaches from the emerging field 165 aims to analyse the expression of animal figures from Bumiayu compared with of object-based material culture studies, this panel explores other kinds of figures from the same sites and similar figures from temples the ways in which collective memories are constructed and outside Bumiayu. To answer the question about the expressive animal figures, preserved within the objects of our study, and most impor-this paper will take up basic rules of iconography and correlations between Hindu, Buddhist, and Tantric religious mythology. tantly, how social relations are construed behind skilled craftsmanship and innovative techniques. Together, this panel treats objects in the material world not as completed, fixed entities, but as things always in the process of becoming. Why Bother? Changes in the Yangtze Region Bronze Art and Metallurgy Kent CAO, Duke Kunshan University / Duke University, Durham Focusing on the second millennium BCE, this paper examines the dissemination of bronze art and metallurgy brought forth by the expanding Erligang culture from the Central Plain to the middle Yangtze River region. Drawing on the latest archaeological evidence, this research argues that the southern cultures swiftly adopted sophisticated metallurgy, and independently transformed themselves into outstanding pioneers in bronze works. This paper first discusses the Erligang frontier strongholds along the Yangtze River such as Panlongcheng in Hubei, and the related indigenous bronze centres represented by Taijiasi in Anhui. These sites served a catalytic role in stim-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) ulating the rise of the indigenous Yangtze bronze tradition. This paper then Panel 45 Sat 15:00–16:30 explores the technical traits of the Yangtze bronzes, ranging from alloy con-Lecture room 2 figuration to casting quality, with evidence from the Freer|Sackler Collections and recent discoveries in south China. In particular, the excessive use of spac-Transcultural Object Itineraries (I): ers reveals that southern casters ingeniously re-interpreted a metallurgical ad-Plants vancement as an aesthetic hallmark, which itself presented yet another major casting challenge. The strong interest in musical instruments, natural realism Chair: Minna TÖRMÄ, University of Glasgow and repurposing bronze functions all indicate that the Yangtze foundries were (minnakatriina.torma@glasgow.ac.uk) active in departing from the Erligang prototypes and pursuing the bronze art on their own terms. The Shang-centric perspective, much like the Egyptian Model, normalises a unified and dynastic centre in early China. As with exam-This two-part panel explores the ways in which the object biography/itinerary inations of France in the Victorian Era, the northern lens distorts the reality in approach could be adapted to research on animate objects such as plants the Yangtze region. The highly energised Yangtze bronze tradition challenges and gardens in transcultural contexts. The first part, with its focus on plant the prevailing monolithic view, and presents a picture of greater vigour and itineraries, considers a micro level of the itineraries of metasequoia, rhubarb diversity in the early historical landscape of East Asia. and breadfruit. These micro-level object itineraries shift the focus to the trajectories of the objects and the accumulation of meanings which they acquire as they are moved away from their place of origin. An ‘object’ in this context Achaemenid-style Silverwares: can refer to animate objects (such as plants) or inanimate (artifacts) and imag-A Taste for Luxury in Early Imperial China es of animate objects featured on artifacts, which in turn disseminated visual knowledge of exotic-looking species. Yan LIU, Northwestern Polytechnical University (fionaliu1202@yahoo.com) By treating the animate elements, plants, as ‘objects’ in the manner of artifacts An array of prestigious silverwares were archaeologically recovered in Eastern and looking at their individual histories, we gain a more nuanced sense of and Southern China, including three silver vessels found in the princely tomb how the creators of gardens or landscapes created collections. A biography of at Xuyi, Jiangsu province, belonging to the King of Jiangdu (d.128 BCE) and a plant may mean either the life of an individual plant or the history of a plant the well-known silver box from the tomb of the King of Nanyue (d.122 BCE) at species. There may be cases where we have knowledge of the acquisition of 166 Guangzhou, Guangdong province. These precious metal artifacts were made a specific plant. An example of plant species could be the tree peony and its 167 with the repoussé technique and decorated with lotus petals in high relief. journey into Britain. The three papers in this first part will also consider the The lobed decoration occurs in silver from Achaemenid Iran, and goes back question of what is meant when plants are discussed in terms of whether they even earlier. For a long time, these exotic silverwares were considered direct are native or non-native. imports through the maritime silk roads from the 2nd century BCE onward. The epigraphic evidence, however, reveals that some objects were datable to the 4th-3rd centuries BCE while the technical features show that some From Fossil to National Symbol: objects were probably made by the artisans in the northern states. The cur-The Transcultural Lives of the Metasequoia rent research takes an approach of ‘object biography’ based on the premise Hans Bjarne THOMSEN, University of Zurich that the life history of an object can be traced to reveal its connections with (thomsen@khist.uzh.ch) the social world around it. It offers a glimpse into the unfolding story of the The metasequoia ( Metasequoia glyptostroboides) has enjoyed a singular his-Achaemenid-style silverware. Attention is given to the aesthetic and techno-tory during the last century. First discovered by Shigeru Miki in 1941 from logical practices that transformed the value of everyday objects into material fossils dating to the Mesozoic era, living examples were then found during emblems of imperial power. surveys in Sichuan and Hubei provinces. As the news spread of a prehistoric fossil coming to life, the Arnold Arboretum of Harvard University sent an expedition to collect seeds in 1947 and distributed them across the world. As the tree spread, it gathered a number of culturally distinct meanings. In China it became a national symbol, partly due to the closeness of the dates of its discovery and the establishment of the PRC. Massive planting programs took place, for example, by planting a million trees along a 60 km highway in Jiangsu Province. In Japan, the Sho¯wa Emperor, who received some of the first seeds and sap-lings in 1949, wrote poems of praise to the tree. In his mind, it came to sym-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) bolise the nation’s post-war reconstruction. A comprehensive program to about the non-linearity of an object itinerary, this methodologically experi-spread the tree to schools across Japan resulted in massive metasequoia trees mental paper will consider the present resonances of the breadfruit as well on school grounds, making it a symbol of learning. as its past ones. The geographical and chronological itinerary followed by this physical specimen was very clearly defined by colonialism and slavery. But In the west, the tree was initially seen as a desirable exotic plant (as in the is-the knowledge cultures that developed about it moved in very different di-land Mainau) and later as a functional and useful tree, leading Western cities, rections: their cultural and intellectual impact transcends the spatial and tem-such a Zurich, to plant sections of their cities with the metasequoia. Thus the poral boundaries that historians conventionally place around their subjects. tree has made a startling transformation from extinct fossil to the present, enjoying a range of receptions across the globe. On Rhubarb: The Transition of the Rhubarb Plant from Asian Exotic to Allotment Staple Anne GERRITSEN, University of Leiden / University of Warwick, Coventry This paper will look at transitions and transformations in the cultivation of the rhubarb plant. In some ways this will be a very local story: about the ways in which British horticulturalists and vegetable growers came to know about rhubarb and integrated the numerous varieties of the plant into their vegetable gardens and brought the fruit to market. But it will also be a global story: one that begins with the representation of the plant in Chinese medical encyclopaedia and in Ayurvedic medicinal texts. It then considers the colonial appropriation of rhubarb in British India and Central Asia and the commercial dealings in the ports of East Asia. It will look at the ways in which different knowledge systems were deployed to make sense of the plant in different parts of the world, each using rhubarb as a way of shoring up power and 168 cultural superiority. Taking a biographical approach to rhubarb will reveal the 169 extent to which rhubarb’s story is one of appropriation and integration into different systems of knowledge and power. Using a combination of visual, material and textual representations of rhubarb, this paper emphasises not the story of the plant itself as much as the story of the epistemic, economic and cultural agendas and desires that shaped the story of the cultivation of the rhubarb plant. Breadfruit Itineraries Sarah EASTERBY-SMITH, University of St Andrews (ses22@st-andrews.ac.uk) This paper examines the ‘object itinerary’ of a single leaf that is now preserved in the Herbarium of the Royal Botanic Garden, Edinburgh. The leaf in question once belonged to a breadfruit tree ( artocarpus communis or artocarpus altilis (Parkinson) Fosberg) which grew on the island of Mauritius in the early nineteenth century. The paper will discuss the geographical route taken by the specimen to the collection in Scotland, and will examine some of the key sites in which specific knowledge cultures about the breadfruit developed, such as the Pacific island of Tahiti and the Scottish city of Edinburgh. Historians of science have now long accepted that knowledge is formed through movement, but the nature of that movement still needs to be more clearly conceptualised. Taking seriously the points made by Alexander Bauer The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Panel 46 Sat 15:00–16:30 the Holy Roman Empire, was one of the enthusiasts who collected an amount of Lecture room 4 Delftware, including pieces of dishware and a set of commissioned tableware. Exporting Influence: From In this study, the Delftware from the Lobkowicz collection will be analysed Visualization to Imitation (I) with a focus on the objects with Chinese-style-influenced patterns, comparing them to Chinese export porcelains at the time, and to later developments. Chair: There are primarily two categorisations, dishware with the Jardinière motif Katherine Anne PAUL, Birmingham Museum of Art and its variations, and Kraak imitations, which were crafted in limited num- (kapaul@artsbma.org) bers by Chinese artisans and chiefly produced for the export market. Delft artisans were influenced by these particular patterns taken from Chinese export Chinese Painted Silks – Fashioning the West porcelain, which later became features of Delftware. Although the term “Chinoiserie” was invented in the 18th century, the influence had already made Helen PERSSON SWAIN, University of Glasgow itself felt and was represented in Delftware. (helenborjesdotter@hotmail.com) This paper focuses on Chinese painted silks of the type exported to the West for clothing and furnishing in the eighteenth century, based primarily on the The Metamorphosis of the Asian Lacquer Screen: V&A’s collection. Silks produced in China have been important currency in A Study of “East Asian Cabinets” in the Schönbrunn Palace commercial and diplomatic exchanges for as long as there has been contact and Lacquer Cabinets Fashion in Europe with foreign communities, near and far. Trade was an important stimulus to Xialing LIU 夏凌 刘, Central Academy of Fine Arts, Beijing creativity in textile technology and designs, as was the cultural exchange made (liuxialing@cafa.edu.cn) possible by the trade routes. Despite their significance, Chinese painted silks This paper considers lacquer and porcelain, the two most important types of represent a relatively neglected field of research in the Western academy. Asian export objects in the global exchange. As a traditional decorative craft, While painted silks have frequently been grouped generically alongside other lacquer screen-making is an integration of image, craft, and aesthetic taste, trade goods as part of studies of Chinoiserie – an essentially European artistic carrying a wealth of cultural information from the East to the West. Through style – and are commonly housed in museums’ Western departments, these this thesis, we can reassess the mode and role of Asian lacquer screens in shaping European fashion and taste in the 17th and 18th century, especially 170 objects reflect multiple cultural traditions and provide unique insights into the 171 mechanisms of global cultural exchange in the early modern period. This pa-royal Chinoiserie interior decoration. per will highlight the role of Chinese material culture within histories of West-This thesis focuses on lacquer cabinet decoration in 18th century Europe from ern fashionable dress, and demonstrate export silk’s value as an indication of a transcultural and transmedia perspective, taking two Eastern lacquer cabi-wealth, taste and status in Western contexts. Bringing together the usually sep-nets in the Schönbrunn Palace as examples. arate studies of fashion and textile history, and drawing on material culture methodology, I will argue that the Chinese had far more agency in the design, First of all, the author will introduce the topic, identifying the time and orig-production and trade of this material than has previously been acknowledged. inal place of some lacquer panels used in the lacquer cabinet in Schönbrunn Palace by contrasting images and styles. Secondly, the logic of the transformation from lacquer screen (Asian furniture) Delftware with Chinese-style-influenced Patterns from the Lobkowicz Collection to lacquer cabinet (European interior decoration) will be deeply analysed, looking at how the Habsburg Empire in the 18th century accepted, absorbed Tzuhan CHIU, Charles University, Prague and transformed the Asian objects represented by lacquerware. (tzuhannnn@icloud.com) Thirdly, the author discusses the multiple roles and different states of existence Delftware, a term for Dutch ceramic objects produced in the city of Delft, of Asian lacquerware in the western space and in the daily life of Europeans. imitated the blue and white decoration on Chinese porcelain initially in the early 17th century. From the beginning, it played a significant role in bridg-Fourth, the fundamental logic and characteristics of the European lacquer ing cultural influences and developing the technology for the production of cabinets fever are summarised by collecting lacquer cabinets in literature and porcelain, and became a phenomenal product for the general public from existing lacquer cabinets. bourgeois to aristocratic houses. Finally, the paper will focus on the birth of gilded leather screens and imita-Collecting and commissioning Delftware was a way for collectors to exhib-tion-lacquerware porcelain, the continuation of lacquerware fever, and dis-it their wealth and power. The trend spread widely to European countries at cuss the “translation” phenomenon between different objects, which break the time and even reached places far from the production centre in Delft. The through material and technological boundaries on the occasion of the en-house of Lobkowicz, an aristocratic family based in the Kingdom of Bohemia in counter of different cultures. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Panel 47 Sat 15:00–16:30 differences in the quality and quantity of goods deposited with the dead and Lecture room 13 in the sophistication/simplicity of the structure of burial facilities. The tem-Approach to the Early State poral change in k o fun in the centre and in the regions would indicate the rise and fall of chieftainship in the centre and in the regions, as well as the Formation in Japan from the power relationship between them. Behind the diversity of kofun, the author Standpoint of Mortuary Practices (I) sees the existence of some sort of “system” that ordered the relative social and political positions of the elites under the kingship according to the form Chair: and size of k o fun. Ken’ichi SASAKI, Meiji University, Tokyo (ksasaki@meiji.ac.jp) Evolution of Material Culture from Practical to Symbolic: Diversification of the Morphologies of Arrowheads From the middle third to the early seventh centuries A.D., an at the Beginning of the Kofun Period extraordinarily large number of mounded tombs were built Takehiko MATSUGI, National Museum of Japanese History, Sakura all over Japan (except for Hokkaido and the Ryukyu Islands). (matsugi@rekihaku.ac.jp) These elite mounded tombs are referred to as kofun, and the The beginning of the practice of building standardised and large mounded time period during which these kofun were built is called tombs in the middle third century marks the beginning of the Kofun Period. the Kofun Period. It is also during the Kofun Period when In these elite mounded tombs, various objects were deposited with the dead. Japanese society evolved into a state. Based on the temporal These objects were produced and distributed under the control of influential change and regional differences in kofun, Japanese archae-chiefs, and bronze and iron arrowheads were among these objects. ologists have proposed several models of state-formation. In During the preceding Yayoi Period (ca. seventh century B.C. to early third this session, five Japanese archaeologists present the results of century A.D.), the bronze and iron arrowheads were very simple in terms of their research and investigations to approach various aspects morphology, and there were few different types. In the Kofun Period, howev-of state-formation in early Japan. The issues addressed in this er, arrowheads of complicated forms appeared, and the differences in types increased drastically. This evolution of arrowheads from the Yayoi to Kofun 172 session include the differences in the form and size of kofun, 173 Periods was not a result of functional development but a result of the pursuit of arrowheads deposited with the dead in kofun, the appearance designs. The author argues that the evolution of arrowheads was from practical of kofun in peripheral regions, kinship relationships reflected to symbolic. Along with bronze mirrors and jade objects, arrowheads of the in those buried in kofun, and the decline of the construction Kofun Period became symbolic goods that were exchanged among the elite. of keyhole-shaped kofun in an eastern peripheral region. Background to the Appearance of Mounded Tombs in Peripheral Regions of Japan in the Middle Third Century Diversity of the Mounded Tombs of the Kofun Period Yoshio KIKUCHI, Fukushima University (kikuchi@ads.fukushima-u.ac.jp) and its Significance The author presents a temporal change in mounded tombs and settlements Shin’ya FUKUNAGA, Osaka University from the Yayoi to Kofun Periods in the third century in peripheral regions of In this presentation, the author will discuss the significance of the diversity of Japan, thereby addressing the nature of the state-formation process. The cen-elite mounded tombs or kofun during the Kofun Period when the mortuary tre of mound-building culture during the Kofun Period was located in the cen-rituals were politically manipulated by the paramount chief and high-ranking tral areas of the present Kinki region (modern Nara, Osaka, and Kyoto), while elites. More than twenty thousand kofun were built from the middle third the northernmost distribution of mounded tombs is in the southern Tohoku to early seventh centuries in Japan, spanning 1,300 km from southwest to region and the southernmost in the southern Kyushu. These regions may be northeast. The kofun were extremely diverse in terms of forms and sizes. considered as peripheral. Mounded tombs and settlements in these peripher-The forms can be classified into keyhole-shaped with circular rear mounds, al regions are not necessarily inferior to those in the regions closer to Kinki. keyhole-shaped with square rear mounds, circular and square. The largest In some cases, the quantity and quality of goods deposited with the dead in keyhole-shaped kofun with a circular rear mound is more than 500 metres mounded tombs of peripheral regions are better than those closer to Kinki. in length, and small square kofun are approximately ten metres each side. In these peripheral regions, keyhole-shaped mounded tombs of more or less The differences in the form and size of kofun are positively correlated to the 100 metres in length and settlements characterised by material cultures typi-The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) cal of the Kofun Period appeared suddenly without any precedents. This tran-Panel 48 Sat 17:00–18:30 sition from the preceding Yayoi Period to the Kofun Period was in a sense a Lecture room 15 “quantum leap.” To approach the background of drastic change in mortuary practices and settlements in peripheral regions is an important key to under-Material Worlds: standing the nature of state-formation in Japan. Life History of Objects in the Shaping of Social Realities (II) Chair: Yan LIU, Northwestern Polytechnical University (fionaliu1202@yahoo.com) Discussant: Ruiliang LIU, British Museum (rliu@britishmuseum.org) Real Imaginary Creatures: Depictions of the Rhinoceros in Japan Mai YAMAGUCHI, Minneapolis Institute of Art In the summer of 1921, the Osaka City Zoo bought a Sumatran rhino from Indonesia for 23,500 yen. Before then, few – if any – Japanese had had the opportunity to encounter such a creature. Despite the lack of living specimens, some Japanese knew of an animal called sai, or “rhinoceros”, through books transmitted from Europe and China. Through text and image, these foreign publications communicated information about the animal’s appearance, characteristics, and its habitat. As information moved from one document to another, and then to individual renditions and private notes, certain details 174 remained while others were forgotten. 175 Rhinoceros, a large-scale work on paper discovered by the presenter at the Princeton University Art Museum, will serve as a case study of how knowledge moved through various sources: copied, repeated, and passed on. This paper will trace the flow of knowledge from Europe and China to Japan that culminated in the painting of the Rhinoceros. From the printing of Dürer’s print to its republication in a Japanese translation of Johann Jonston’s Historiae naturalis de quadrupedibus, and finally painted onto a large sheet of paper, depictions of the rhinoceros straddled the imaginary and the real, reconstituted from textual information and silhouettes of images passed through numerous hands. Through an examination of the visual and textual alterations the rhinoceros underwent, this paper will demonstrate how scholars collected and edited knowledge. Craftsmanship vs. Originality in Chinese Rubbing Collection of the Ming (1368–1644) Sarah NG, Hong Kong University Museum and Art Gallery (UMAG) A large collection of calligraphy, historical inscriptions and pictorial representations have survived in ink rubbings; these have been appreciated and collected by calligraphers, scholars and antiquarians for centuries in China. Calligraphic rubbings are often treasured the most out of all kinds of rubbings. They are not only regarded as copies but are valued as art especially The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) when they become the sole remaining evidence of an artistic and cultural Panel 49 Sat 17:00–18:30 heritage, or the original works no longer exist. Lecture room 2 Chunhua getie of 992AD is recognised as the first rubbing collection of model Transcultural Object Itineraries, calligraphy comprising a huge body of calligraphy by renowned and repre-Part 2: Gardens sentative people in past dynasties. Its oldest original edition was lost but there were many recuts, and derived editions emerged in the Ming (1368–1644). Chair: My paper is to examine various significant Ming editions of this engraved cal-Hans Bjarne THOMSEN, University of Zurich (thomsen@khist.uzh.ch) ligraphy collection and the relationship between the creation or publication Discussant: of these collections and their role in the configuration of social realities and Stephen MCDOWALL, University of Edinburgh cultural identities. Rather than the quality of calligraphy, it was skilled crafts- (stephen.mcdowall@ed.ac.uk) manship and the date that chiefly determined an edition’s value, popularity and importance. This paper exposes the bizarre misunderstandings or appreciation of rubbing collections that stem from the history and evolution of The second part of the panel on transcultural object biogra-these misleading interpretations at the time. phies/itineraries shifts the focus from micro level to macro level with the focus on gardens as spaces for collecting. Their biographies are on the one hand investigated in relation to the Post-discovery Life History of the Edsin Gol Han Dynasty Wooden Slips personal histories of their owner-keeper-cultivators. On the other hand, the papers take in the long durée of the gardens, Chin-Yin TSENG, Dunhuang Academy (chinyintseng@163.com) i.e., what was before and after the changes of ownership. In addition, there may be cases in which we can explore the curated The Han dynasty wooden slips (with dates ranging from 102 BCE to 30 CE), discovered in 1930 at the Juyan military post in Edsin Gol by Swedish Archae-gardens with the interiors of dwellings. ologist Folke Bergman, are the only texts excavated in modern times by Eu-The three papers range from the eighteenth century to the ropean scholars in northwest China using archaeological methods that have twentieth century, starting with Alexander Pope’s grotto at his 176 continued to be kept in China. From the perspective of a life history approach, 177 these wooden slips have been widely valued and studied for their short life Twickenham Villa, moving to Edward Atkinson Hornel’s house history – their place in the Han dynasty and what the texts on the wooden in Kirkcudbright and ending in visits to Asian-inspired gardens slips reveal to us about the society in which these artifacts performed a role – in Sweden. All these examples involve aspects of cultural trans-until their eventual deposition as they ended up in the ground. Alternatively, lation, as minerals, shells, plants and other curiosities from var-a long life history of these wooden slips would draw our attention to the dis-ious parts of the world were brought together to form a collec-covery, research, and relocation of these wooden slips as the result of specific tion. The papers explore the shifts in meanings when objects relationships between the scholars who worked on these artifacts and the objects themselves, against the historical backdrop of the Sino-Swedish Scientific from diverse origins meet in new cultural contexts where their Expedition to North-Western Provinces of China (1927–1935) and the tumul-new owners create assemblages based on their perception of tuous period of the Sino-Japanese War (1937–1945). Using archival materials the world. The advantage of the biographical approach here is from the Sven Hedin Archives in the Etnografisca museet and Riksarkivet in the way it highlights the changes in perception and curation Stockholm, as well as the Fung Ping Shan Library of the University of Hong even beyond the lives of the owner-keeper-cultivators. Kong, this paper aims to look at a series of scholarly exchanges heretofore unknown to the public, in which was determined the historical value of the Juyan Han wooden slips for their present role in advancing the early history Questioning ‘Japaneseness’ in the Broughton House Garden of Chinese scientific archaeology. Minna TÖRMÄ, University of Glasgow (minnakatriina.torma@glasgow.ac.uk) This paper explores changing attitudes in cultural translation with a focus on the so-called Japanese garden at Broughton House in Kirkcudbright (Scotland). The garden was originally created by the painter Edward Atkinson Hornel (1864–1933) and is currently in the care of National Trust for Scotland. Though in publications during recent decades it has been included in the list of Japanese gardens in Britain, the references to Japan are in fact visible only The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) in a small section of it. Besides, if we view the biography of the garden from What made thousands of years of history, traditions and ideals interesting as the days of Hornel to the present day, it becomes clear that ‘Japaneseness’ was representations of “modern” or “new” garden design during this period? Al-a rather subdued and minor element in Hornel’s time, and yet later curators though some Swedish persons were already acquainted with Chinese gardens and gardeners have felt the need to emphasise this character. during the 18th century, few people had travelled in Asia in the early 20th century. But a cultural elite interested in Asian landscape architecture, archi-In publications such as Country Life, the quintessential image of the garden tecture and art, spirituality and philosophy had many opportunities to enhas been a detail of a stream with steppingstones and a red-painted railing counter Asian cultural expression through films and exhibitions, public talks, across it with a Japanese lantern in the background. The railing and lantern newspaper articles, and books, especially in Stockholm. We see a transmission were, in fact, later additions and were removed during the latest phase of the of garden ideals from Asia to Sweden, but also a migration of religious or restoration of the garden, which endeavours to bring the garden closer to what spiritual expressions and artifacts into private non-religious gardens. In what it was like in Hornel’s time. A biographical approach helps to highlight these ways were personal ideas and memories of Asian garden cultures transferred changes in the garden as it passed from Hornel’s ownership to later custodi-into Swedish conditions and climate? Stylistic transformations, changing light ans, and how we are currently questioning cases of cultural appropriation. in the daytime and during seasons, topography and climate all contributed to creating these meticulously curated landscapes. To what extent were personal memories and meanings attached to the social life of these gardens and the The Natural and the Imperial: Collecting and Display individual plants? By choosing a biographical micro-level approach through in Alexander Pope’s ‘Grotto as a “Mine”’ the owners’ individual identities, ideas and histories in relation to social, po-Yue ZHUANG, University of Exeter litical and cultural encounters and mobility, I aim to discuss these gardens as (y.zhuang@ex.ac.uk) expressions of material culture and cultural encounters. The English poet, Alexander Pope (1688–1744) is renowned as a pioneer of the natural or picturesque gardening style in 18th century Britain, a style connected with the Chinese garden aesthetic. What is less well recognised is his passionate interest in collecting natural objects for his grotto-museum and his application of the picturesque style to the interior of the grotto. Since the conception of the grotto at his Twickenham Villa, Middlesex, in 1719, 178 the poet had assembled a collection of minerals, shells, and other curiosities. 179 The sources of his collection were global in nature, ranging from Rome to northern Italy, and from Mexico to Peru. During a major renovation in 1739, the grotto was transformed from a cryptoporticus with classical orders into a ‘mine’. Under instructions from geologists, the poet arranged the minerals to resemble those in mining sites in Cornwall, creating a picturesque effect on the grotto’s interior. My paper will discuss the biography of the grotto in relation to the fashions of both grotto-making and collecting in 18th-century Britain during its colonial expansion. Investigating the links between the allegedly Chinese-inspired, ‘picturesque’ style, the poet’s notion of ‘imitating nature’ and his Tory imperialist politics, I shall also probe the question of whether or not the supposedly universal aesthetics of nature in Pope’s grotto-making and display served to justify the British imperialist outlook in ordering the world. Curated Asian Gardens in Sweden – Expressions of Material Culture and Cultural Encounters Catharina NOLIN, Stockholm University (catharina.nolin@arthistory.su.se) During the first decades of the 20th century, several Swedish art historians and art collectors, garden designers and architects made their own Asian-inspired gardens. How can we understand and interpret these gardens today? The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Panel 50 Sat 17:00–18:30 A Global History of “Kimonos” and the Products Lecture room 4 They Inspired Exporting Influence: From Keiko SUZUKI, Ritsumeikan University, Kyoto Visualization to Imitation (II) This paper focuses on “kimonos” and the products they inspired for Western consumption. In doing so, the paper intends to examine how these products Chair: embody global history. The Dutch East Indian Company introduced Japanese Katherine Anne PAUL, Birmingham Museum of Art (kapaul@artsbma.org) “silk gowns”, as they were recorded, to the West in the 17th century, but did not specify what kind of “kimonos”. Eventually, what the Dutch called Japonsche rockken developed as loose-fitting men’s robes, popular as informal but From Walcheren Island to the Normandy Region: Eighteenth fashionable wear from the 17th to the beginning of the 19th century. While Century Maritime Art in Western European Coastal Cities certainly starting off as imported Japanese gowns, they came to include less kimono-like robes, which were often made of Chinese and European silks. Yi-Chieh (Mireille) SHIH, Leiden University (y.c.shih@hum.leidenuniv.nl) Moreover, they were also called banyans and Indian gowns, as the Company supplemented the limited number of the Japanese gowns with chintz prod-From the eighteenth century, the East India Companies of different nations ucts made in India. successfully built a transoceanic trading network and imported exceptional goods from Asia to Europe. Merchandise such as tea, silk and porcelain were To investigate how much or how little these robes are kimono-like, my paper popular. Still, company employees were also interested in having a portrait examines some of the extant Japonsche rockken and their visual representa-clay figure of themselves wearing their best outfit, to remember their glory tions, as well as comparing them with contemporary kimonos called kosode moments in Asia. This unique art service was only performed from 1700 to (a prototype of present-day kimonos) and yogi (a kimono-shaped quilt used 1850 in China, Batavia and Madras. Since it was hard for Europeans to enter at night). Canton’s city gate, only a few captains and supercargoes could enjoy this service. They would wear their traditional European outfits when visiting model-What my research reveals is that Japonsche rockken show distinctive altera-lers’ shops to have their portrait clay figures made. When they sailed back to tions, in which the garments have been adjusted to complement their func-Europe, these unique portraits, made of unbaked clay, also made their way to a tional usage in the West, and that their basic structure might be closer to 180 new world. These ‘made in China’ European portrait clay figures gave new in-yogi than kosode. Moreover, this research also demonstrates that not only the 181 spiration and definition to ‘Chinese Taste’ in western European coastal cities. trade destinations of Japan and the Netherlands but also many trading posts In Walcheren Island, where the Middelburg Chamber of the Dutch East India in between were involved in kimono-inspired production in the early modern Company was located, employees brought at least five figures back. Along the period. western European coast, cities like Ostend in Belgium and Le Havre in France also have these unique pieces in their maritime collection. This personalised portrait service is beyond distinctive compared to other Chinese export art objects. Therefore, I aim to take these portrait clay figures as examples to examine how Chinese clay figure modellers modernised this service from pure local decorative artifact manufacturing to a transcultural commercial bespoke creation and adequately delivered a European aesthetic with their training in eighteenth-century globalising taste. The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Panel 51 Sat 17:00–18:30 supplemented by land transportation connecting these areas. In other words, Lecture room 13 long-distance trade cannot be realised without connecting several short-dis-Approach to the Early State tance trade routes. The connection of a series of such short-distance trade routes cannot be realised without the mutual trust of elites of different regions Formation in Japan from the who probably controlled the coordinators of various porters and shippers. In Standpoint of Mortuary Practices (II) maintaining the mutual trust of elites of different regions, the author argues, rituals cooperatively conducted by these elites played an important role. The Chair: sharing of the keyhole-shape for elite burial mounds was one way to maintain Ken’ichi SASAKI, Meiji University, Tokyo the mutual trust among the elites. The elites also held banquets inviting elites (ksasaki@meiji.ac.jp) of different regions, because non-local pottery is often discovered at the sites of elite mansions, and such banquets also contributed to the mutual trust Royal Succession and Elite Kinship Structure among elites of different regions. of Kofun Period Japan Akira SEIKE, Okayama University Mound Building in an Eastern Peripheral Region of Japan During the Kofun Period of proto-historic Japan (ca. middle third to early Ken’ichi SASAKI, Meiji University, Tokyo seventh centuries A.D.), it was often the case that more than one person was (ksasaki@meiji.ac.jp) buried in a single elite mounded tomb. The results of physical anthropologi-This paper presents a regional difference in the practice of mound building in cal analyses show that those buried together in a single mounded tomb were the eastern peripheral region in the sixth and seventh centuries. In the sixth either a brother and sister (or brothers) or parent and his/her offspring. There century, Buddhism was introduced to Japan, and the erection of Buddhist are very few cases of burying a man with an unrelated woman, which indicates temples became the symbol of authority from the late sixth century on, result-that married couples were rarely buried in the same mounded tomb. These ing in the decline of building large keyhole-shaped mounded tombs in the suggest that kinship ties were stronger than marriage relationships during the sixth century. Yet, in regions surrounding the present Tokyo, eastern Japan, Kofun Period. keyhole-shaped mounded tombs were still built in the early seventh centu-When a brother and sister or brothers were buried in a single elite mounded ry, after the first major Buddhist temple was built in 596 in Nara, where the 182 central polity was located at that time. Furthermore, in the old province of 183 tomb, no or little difference existed in the quantity and quality of goods deposited with the dead and in the size and structure of the burial facility. This Hitachi, different types of keyhole-shaped mounded tombs were built, such suggests that there was little difference in the social status between brothers as one enclosed by inner and outer moats typical of the fifth-century central or a brother and sister. The author would argue that the lack of difference in polity region, and another enclosed by a low earthen platform and a moat the social status or “power” between a brother and sister or brothers would typical of the sixth-century Shimotsuke province. By the early sixth century, it lead to frequent disputes over and struggles for the succession of the position is widely accepted among Japanese archaeologists that the central polity main-of paramount chief. In other words, the elite society was rather unstable at tained strong control over most regions of Japan. Nevertheless, the results of that time. This unstable elite society characterised by frequent fights over suc-my investigations into mounded tombs in Hitachi suggest the possibility that cession to family headship is also recorded in a few written sources describ-some local elites remained somewhat autonomous. ing the history of the Kofun Period, which gives support to the results of my archaeological study. Rituals to Increase the “Mutual Trust” among Elites to Maintain a Trade System during the Kofun Period of Protohistoric Japan Yutaka TANAKA, Ibaraki University Long-distance trade was essential during the Kofun Period of protohistoric Japan (ca. late third to early seventh centuries A.D.). This is particularly the case for the procurement of iron because iron ingots had to be imported from the Korean peninsula at that time. Water transportation played an important role in long-distance trade, but there were several dangerous spots in the ocean surrounding the Japanese islands. Accordingly, not only coastal areas of the ocean but also rivers and lakes were fully utilised for transportation, The Third Conference of the European Association for Asian Art and Archaeology Abstracts: Saturday, 16 September 2023 (day 4) Conference General Information 184 185 The Third Conference of the European Association for Asian Art and Archaeology The main conference programme will take place Please review the conference programme to check REGISTRATION KEYNOTE SPEECH between Wednesday, 13 September and Saturday, room assignments and consult the faculty building 16 September at the Faculty of Arts, University of layout for room locations. Conference panels will Conference Registration Details The keynote speech, delivered by Professor Craig Ljubljana. The address is as follows: take place in lecture rooms 2, 4, 13, and 15, all Clunas, Professor Emeritus of the History of Art at conveniently positioned on the ground floor of the Registration for the conference will start at 4:00 the University of Oxford, is scheduled for Thurs-faculty building. pm on 12 September. The registration area will be day, 14 September, from 17:00 to 18:00. The key-situated in the entrance hall, which is located right Faculty of Arts, University of Ljubljana note address will take place in lecture room 15. Upon your entrance through the main Aškerčeva inside the main entrance of the faculty building. Aškerčeva cesta 2 Additionally, there will be a simultaneous broad-cesta (Aškerčeva street) entrance, you’ll step into 1000 Ljubljana cast of the keynote speech in lecture room 2. the entrance hall. The information booth and reg- Slovenia istration area can be found there. All lecture rooms Payment on site are situated in the left-hand corridor, accessible from the entrance hall. The information staff are For those paying the EAAA membership fee and ex-TECHNICAL INFORMATION readily available to offer assistance, answer any cursion fee on site, we ask you to bring the exact The lecture rooms are equipped with a PC comput-questions, and provide directions as needed. amount of the fees in euro, where possible. The fees can only be paid in euro. er that will be used for the presentations. Please bring your presentation on a USB stick, saved in Powerpoint and in PDF format. Registration on site Please arrive at the conference room 15 minutes before your panel begins, to allow sufficient time All registrations must be completed exclusively to transfer and test the presentation file. Confer-through the official conference website (https://ea-ence staff will be in each of the conference rooms aaa.eu/conference-eaaa/). Registration site will be to help with transferring files and to provide tech-open throughout the duration of the conference. nical support. Due to the tight schedule and large number of par-186 CONTACT INFORMATION ticipants, we cannot accommodate the use of per- 187 3 sonal laptops. During the conference, please feel free to approach any of the conference information staff if you have questions. Conference staff can be identified by Internet access (Wi-Fi) the red coloured conference t-shirts. 1 2 The University of Ljubljana offers Wi-Fi connectivity via eduroam (education roaming) hotspots to INFORMATION FOR PRESENTERS scholars, educators and students whose institu-AND PANEL CHAIRS tions participate in the network. See https://www. eduroam.org/ to check if your institution is con-The time allotted for presentations is 20 minutes, nected and for more details. with an additional 10 minutes planned for discus- sions, to either follow each presentation or to be An additional Wi-Fi is set up for all conference par-1 2 3 held collectively after all panel presentations are ticipants. The password for the Wi-Fi will be pro-Faculty of Arts, City Museum of Ljubljana Stazione Parenzana University of Ljubljana Restaurant & Brewery completed. Please note: For panels with more than vided during the conference. WELCOME RECEPTION CONFERENCE VENUE AFTER PARTY four presentations, the total discussion time will be reduced accordingly. Please bring your presentation on a USB stick, saved in Powerpoint and in PDF format. The Third Conference of the European Association for Asian Art and Archaeology CATERING / COFFEE BREAKS Other restaurants include: Getting to the By car AND MEALS • Asian restaurant Zanoodle (Rimska cesta 21, Conference Location If you are arriving by car, you can park on the 1000 Ljubljana; 2-minute walk from the venue) streets nearby, but you might have to pay a fee of Welcome reception with musical event: EUR 0.80 per hour (parking time is limited in cer- ‘Musicking’ • Pizzeria Foculus (Gregorčičeva ulica 3, 1000 The conference will take place at the Faculty of tain areas). Close to the faculty (if you cross Slov-Ljubljana; 4-minute walk from the venue) Arts, University of Ljubljana, which is located in the On the evening of Thursday, 14 September 2023, city centre, at Aškerčeva cesta 2. Due to its central enska Street) there is a large parking space called we extend a warm invitation to all conference par- • Bosnian restaurant Das ist Valter (Borštnikov location, it is easily accessible either by city bus or NUK II (priced at EUR 4.00 per hour; 7:00 – 19:00). ticipants to join us for a welcome reception. The trg 3, 1000 Ljubljana; 4-minute walk from the car and on foot. You can park your car on the outskirts of Ljublja-reception will take place at the Ljubljana City Mu-venue) na, for example Barje P+R, then take bus number seum, Gosposka 15, 1000 Ljubljana (see map and • Indian restaurant Namaste (Breg 8, 1000 9, which stops within a 3-minute walking distance instructions below). Ljubljana; 6-minute walk from the venue) By city bus from the venue (bus stop Drama; see instructions The event will start at 6:30 pm and finish at 10 pm. above). • Restaurant Romansa 1971 (Trg republike 1, Ljubljana is small and many places in the city can We look forward to welcoming you for an enjoya-1000 Ljubljana; 6-minute walk from the venue) be easily reached on foot, while the city bus net-ble and engaging evening. work is also quite efficient. If you decide to take • Italian restaurant Mirje (Tržaška cesta 5, 1000 the city bus to get to the faculty, you might have to By train or bus Ljubljana; 7-minute walk from the venue) purchase the Urbana city card (please see: https:// If you come by train or by bus, you can use city Coffee breaks • Pizzeria Pop’s pizza (Breg 2, 1000 Ljubljana; www.jhl.si/en/single-city-card-urbana). buses number 2, 9 or 27, which stop at bus stop Coffee breaks will take place in the entrance hall. 7-minute walk from the venue) Please visit the following website for more infor-Kolodvor next to the central bus station. To reach Kindly note that refreshments obtained from loca-the conference venue, exit the bus at the Drama • Asian restaurant DA BU DA (Šubičeva ulica 1a, mation: tions other than the designated area are chargea- bus stop (see instructions above). 1000 Ljubljana; 8-minute walk from the venue ble and participants are responsible for covering https://www.lpp.si/en the costs themselves. • Asian resturant Han (Kongresni trg 3, 1000 (Public transport in Ljubljana (LPP)) Ljubljana; 8-minute walk from the venue) On foot 188 If you prefer walking, it will take you approximate-189 Lunch For convenience use the Aškerčeva bus stop (bus- es number 1 and 6), which stops just in front of ly 30 min from the main railway or bus station to During the conference, you’ll have convenient After-party the Faculty of Arts, or Drama bus stop (buses num-the faculty (the distance is about 2 kilometres). lunch options available nearby. Although the Fac- An after-party is scheduled for Saturday, 16 Sep-ber 2, 9 or 27), a 3-minute walk from the confer- ulty of Arts doesn’t have a student cafeteria, there’s tember, and will be hosted at the Stazione Paren-ence venue. To reach the Faculty of Arts building, a bar called K-16 located at the faculty extension zana Restaurant & Brewery, located at Rimska cesta proceed south-west on Slovenska cesta towards building where you can find snacks and drinks. 17. Included in your welcome bag is a coupon that Gradišče (280 m), then turn right onto Aškerčeva The conference helpers will be happy to guide you grants you a complimentary drink. Please note that cesta (68 m). The faculty building will be on your there. Moreover, you’ll also find a variety of res-any extra food or beverages will be at your own right. taurants within a comfortable 10-minute walk from expense. the faculty building. Particularly convenient to the event venue is the Stazione Parenzana Restaurant & Brewery, located at Rimska cesta 17. The Third Conference of the European Association for Asian Art and Archaeology Getting Around in Ljubljana Guided Tour in Ljubljana Ljubljana City Museum Date: 17 September 2023 Our walk will take in historical buildings, impor-Duration: 18:30–20:00 tant monuments, and beautiful fountains, and Meeting point: in front of the Faculty of Arts, The Ljubljana City Museum (Gosposka cesta 1; see University of Ljubljana there will also be plenty of time to talk about the map) is conveniently located just a brief 5-minute lively local cultural scene, the sustainability pro-walk from the conference venue. To reach it, fol- gramme, rich culinary traditions, and Ljubljana’s low these simple steps starting from the main en-The guided walk through the centre of Ljubljana ubiquitous cafe culture. trance of the Faculty building: will present the capital of Slovenia in the context The 1.5-hour tour will begin in front of the Faculty of its long and complex history and its role today. of Arts (the conference venue) at 18:30 and finish The historical overview will take us from the ear- • Head east on Aškerčeva cesta towards Barjanska at 20:00 at Prešeren Square. The walk is approx. liest neolithic settlements, the Roman town of cesta (68 m). 2km long and not physically demanding; it is also Emona, the bustling medieval trading centre, the wheelchair accessible. renaissance and baroque rebuilding of the town • Continue along Zoisova cesta (210 m). and all the way to the early 19th century when the • Turn left onto Križevniška soteska (67 m). Congress of Laibach starts the modern history of Ljubljana. As well as Italian Baroque architecture, • Proceed onto Gosposka ulica (51 m). which gives a distinct character to the old town, we • You’ll find the museum on your right. will also explore some masterpieces of Ljubljana’s 20th century architecture, most notably the works of the town’s most famous architect, Jože Plečnik. Slovene Ethnographic Museum Some insights into the turbulent 20th century and the Yugoslav period will help participants under-The Slovene Ethnographic Museum (Metelkova ul- stand the present-day complexities of one of the 190 ica 2; see map) is not in close proximity to the con-191 smallest and youngest national capitals in Europe. ference venue. The most convenient way to reach it is by bus. You can take buses 2, 27, or 9 from the Drama bus stop. Disembark at the Friškovec bus stop. From there, it’s a brief 5-minute walk to the museum: • Head west on Masarykova cesta towards Metelkova ulica (47 m). • Turn left onto Metelkova ulica (290 m). • Turn left onto the Marija Terezija Square (45 m). • Your will find the museum on your right. • Meeting point is in front of the exhibition building (see the red mark on the map). The Third Conference of the European Association for Asian Art and Archaeology Post-Conference Trip to Celje Date: 17 September 2023 Exhibition about Alma Karlin: Alma Karlin (1889– Departure: 9:00 1950) was a traveller, writer, journalist and collec-Meeting point: in front of the Faculty of Arts, University of Ljubljana tor from Celje. She travelled continuously for eight years (1919–1927). During her travels she earned her living as a translator and reporter for various The trip will take us to Celje, the former seat of the German newspapers, but was often forced to take Counts of Celje, the most powerful noble family in on other work as well. She stayed in Japan for over Slovenian mediaeval history. We will visit the exhi-a year (1922–1923) and travelled to Korea, China bition of confiscated East Asian objects and some and Taiwan in the following months. Many of the other exhibitions in the Celje Regional Museum. objects she collected during her eight-year journey, After lunch in a local restaurant, we will also visit which took her to at least 45 different countries, Celje Old Castle before returning to Ljubljana. are now exhibited in the Celje Regional Museum. Exhibition “Taken into Protection“: An Attempt The Celje Ceiling in the main chamber of the Old to Reconstruct the Provenance of Objects in the Counts’ Mansion is the central attraction of the Asian Collection of the Celje Regional Museum is Celje Regional Museum. It is the sole example of the first comprehensive exhibition of East Asian ob-secular painting from the transitional period be- jects confiscated during the Nazi and Communist tween the late Renaissance and Early Baroque. regimes. After confiscations, the objects ended up The Celeia Exhibition: The archaeological exhibi-in the museum’s depot. They were studied for the tion site in the basement of the Princely Palace is first time as part of the two national projects East Arhiv Zavoda Celeia Celje the largest presentation so far of the remains of Ro-Asian Collections in Slovenia (2018–2022) and 192 man Celje, called Celeia, in situ. Orphaned Objects (2021–2024), conducted by the 193 Department of Asian Studies at the University of Celje Old Castle owes its present-day appearance Ljubljana in collaboration with museum curators. to the Counts of Celje, the most renowned noble family that had its seat in present-day Slovenia. Their reign and power had a long reach and they had a substantial impact on the political fate of the Central European region. The price of the trip is 45 EUR. It includes transportation, lunch, entrance to Celje Old Castle and guided tour in the castle. Admission to the exhibitions and guided tours of the Celje Regional Muse-um is free. The Third Conference of the European Association for Asian Art and Archaeology Post-Conference Trip to Piran Date: 17 September 2023 Piran: The old port town with remnants of a me- Departure: 8:00 diaeval wall is a protected cultural and historical Meeting point: in front of the Faculty of Arts, University of Ljubljana monument. This coastal town, which developed under the influence of the Venetian Republic, is considered one of the most authentic and most The trip will take us to Piran, the most picturesque photogenic towns on the Adriatic coast. town on the Slovenian coast. On the way from The price of the trip is 45 EUR. The price includes Ljubljana to Piran we will first stop in Hrastovlje, transportation, lunch, entrance to the Holy Trinity where we will visit the famous Trinity Church with Church and guided tour of Piran. Admission to the its impressive Gothic paintings from 1490. In Piran ž exhibition and guided tour in the Maritime Muse- o we will visit the Maritime Museum Piran, where tor um Piran is free. or we will see the exhibition “This reminds me of the Far East: East Asian objects in the mariners’ collections”. After lunch in a local restaurant, we will ssociation P take a guided tour of the beautiful town of Piran ourist A before heading back to Ljubljana. e T chiv Exhibition Fragments of the Far East: East Asian , ar objects in the mariners’ collections shows objects ančič a Iv collected by the sailors who travelled to East Asia o: Jak on board military and merchant ships under the Phot flag of Austria-Hungary in the 19th and early 20th centuries. It presents objects from several muse-194 195 ums as well as from private collections. Permanent exhibition of the Maritime Museum Pi- ran: presents the development of the Navy and Merchant Navy, as well as other industry branches or activities closely linked with the sea; it also shows the way of life of the coastal population and of people who have been connected with the sea from prehistory to the present. Among the items that speak of the way of life and culture of the Navy and Merchant Navy are photographs and other objects brought back by sailors in the 19th and 20th centuries from their travels all over the world, including Asia. Holy Trinity Church: The interior of the three-nave Roman church with barrel vault and high bell tow-er is decorated with Gothic paintings from 1490, which make Hrastovlje the crown jewel in Slove- nia’s treasure trove of mediaeval wall paintings. The Third Conference of the European Association for Asian Art and Archaeology Alphabetical Index of Participants J MENDERS Trevor 76 JANKOWSKI Lyce 69 MERENDA Martina 99 JANSSEN-KIM Melanie 79 METOIKIDOU Maria 94 JIN Qiuye 129 A D MILERE Kristı¯ne 95 K ABE Yukinobu 80 DE CARO Antonio 151 MILLER Alison J. 57 KAO Yu-chun 62 ARSHAD Zara 144 DU Jingnan 35 MLINARIČ Davor 48 KAWANAMI Ruri 156 B E MOTOH Helena 134 KHAYUTINA Maria 47 BANO Waheeda 157 EASTERBY-SMITH Sarah 166 MU Pania Yanjie 40 KIESER Annette 80 BERDAJS Tina 133 EGOROVA Anna Alekseevna 83 MUELLER Doreen 43 KIKUCHI Yoshio 171 BERGMANN Annegret 73 F MÜLLER Shing 81 KNAPP Keith N. 141 BIANCHI Alice 88 FAJCSÁK Györgyi 70 N KOO Lina Shinhwa 144 BISCEGLIA Marta R. 99 FANG Hui 89 NACHESCU Alexandra 120 KUO Chen-wo 53 BOGDANOVA-KUMMER Eugenia 77 FRICK Patricia 40, 92 NAKAMURA Kimihiko 85 L BROSCH Ricarda 37 FRÜHWIRT Max 113 NANDAGOPAL Choodamani 159 LAI Ting-sheng 62 C FU Yingbai 38 NELSON DAVIS Julie 75 LAI Yu-chih 36 CAI Tiantian 151 FUJII Yasutaka 79 NG Sarah 173 LEE Jihyeong 161 CANTON-ALVAREZ Jose 82 FUKUNAGA Shin’ya 170 NICKEL Lukas 109 LEE Michel 46 CAO Kent 163 G NOLIN Catharina 176 LENZ Patricia 55 CHAN Annie 117 GARCIA RUBIO DE YCAZA Tansis Darien 154 NOMOTO Kyoko 161 LI Erjia 89 CHAN Pedith Pui 87 GERRITSEN Anne 166 O 196 LI Yung-Ti 59 CHANG Jennifer C. C. 115 GHADIMI Amin 86 OKIDO Mio 57 197 LIN Fan 44 CHEN Chao-jung 59 GLAISTER Helen 113 ØRUM Tania 137 LIN Zhi-yan 62 CHEN Guangchen 124 GÓMEZ MORILLA Rebeca 56 P LIU Chang 131 CHEN Xuan 163 GUO Fuxiang 112 PAPINI Massimiliano 155 LIU Jiaojiao 34 CHENG Alice Yu 46 H PAUL Katherine Anne 82 LIU Jinyi 106 CHEUNG Karwin 71 HARMATH András 118 PAUL Paramita 131 LIU Ruiliang 58 CHIANG Nicole 38 HEATHERLY Bryce 106 PEJČOCHOVÁ Michaela 70 LIU Shanshan 128 CHIRITA Andreea 64 HIRAKI Shiori 43 PERRIN Ariane 140 LIU Xialing 169 CHIU Tzuhan 168 HONG Jeehee 104 PERSSON SWAIN Helen 168 LIU Yan 164 CHOI Sukyung 94 HRVATIN Klara 60 PETKOVA Galia 74 LOUIS François 125 CHOU Wei-chiang 53 HUAN Limin 58 PETRELLA Daniele 147 LYONS J. Scott 148 CLUNAS Craig 12 HUANG Xiao 128 PRÜCH Margarete M. 92 M COLLA Elisabetta 149 HUANG Yu-yang 61 PRVAN Mia Dora 64, 131 MARINAC Bogdana 49 CURA Nixi 37 HUDSON Mark 147 PYUN Kyunghee 143 MAROTTI William 136 Č HYUN Yaerim 145 Q MARŠÁLEK Jakub 153 ČAPKOVÁ Helena 56 I QIAN Yitao 84 MATSUGI Takehiko 171 IEZZI Adriana 98 MCDOWALL Stephen 175 IZZA Nainunis Aulia 162 MECSI Beatrix 96 The Third Conference of the European Association for Asian Art and Archaeology R W RAMESH Rajyashree 158 WAKITA Mio 110 S WALLACE Leslie V. 141 Appendix SASAKI Ken’ichi 181 WANG Chien-yu 52 SCHLAGE Sandra Jasmin 158 WANG Hui 132 SCHWADERER Isabella 159 WANG Jiayao 116 SCHWANZER Agnes 110 WANG Lianming 126 SCUDERI Maria Chiara 112 WEISENFELD Gennifer 76 SEIKE Akira 180 WEN Yadi 34 SELIN Dmitriy 117 WENG Yu-wen 52 SHIGEMORI BUČAR Chikako 49 X SHIH Yi-Chieh (Mireille) 178 XU Tingting 124 SHIMADA Yoshiko 136 XUE Lei 123 SON Jess Jiyun 40 Y STEIN Britta 148 YAMAGUCHI Mai 173 SUCHOMEL Filip 121 YANG Huan 33 SUN Yuqing 115 YANG Junchang 33 SUNG Dasom 146 YANG Liting 150 SUNG Jongsang 129 YANG Yini 64 SUZUKI Keiko 179 YU Xiyun 153 198 SZILÁGYI Zsolt 118 Z 199 T ZANCAN Claudia 140 TANAKA Yutaka 180 ZHAN Qian 88 THAKURTA ROY Shatarupa 41 ZHAN Zhenpeng 93 THOMSEN Hans Bjarne 165 ZHANG Jingyuan 86 TIAN Lu 119 ZHANG Lin 129 TOLNAI Katalin 118 ZHANG Mo D. 105 TÖRMÄ Minna 175 ZHANG Rui 71 TRNOVEC Barbara 121 ZHOU Jingyi 105 TSENG Chin-Yin 174 ZHUANG Yue 176 V ZOHAR Ayelet 55 VAMPELJ SUHADOLNIK Nataša 121 ZORN Bettina 109 VELDKAMP Elmer 97 VENTURE Olivier 47 VESELIČ Maja 50 VISOČNIK GERŽELJ Nataša 60 VON FALKENHAUSEN Lothar 45, 58 The Third Conference of the European Association for Asian Art and Archaeology “Taken into Protection”: An Attempt Fragments of the Far East: East Asian to Reconstruct the Provenance of objects in the mariners’ collections Objects in the Asian Collection of The exhibition Fragments of the Far East: East Asian objects in the mariners’ the Celje Regional collections shows objects collected by the sailors who travelled to East Asia on board military and merchant ships under the flag of Austria-Hungary in the Museum The exhibition and monograph “Taken into Protection”: An Attempt 19th and early 20th centuries. It presents objects from several museums as to Reconstruct the Provenance of Objects in the Asian Collection of the Celje well as from private collections. With the exception of the collection owned Regional Museum are both part of the project Orphaned Objects: Examining by Ivan Skušek, the Quartermaster in the Austro-Hungarian Navy who planned East Asian Objects Outside Organised Collecting Practices in Slovenia (J6-to set up a museum of Asian art, the seafarers’ collections of objects from East 3133, 2021–2024), which is financially supported by the Slovenian Research Asia are relatively modest, although quite diverse. They contain objects that and Innovation Agency. The research is focused on establishing the prove-were used by locals in everyday life and objects made for foreigners. They nance of East Asian objects held in the collection of objects from Asia and acquired many photographs and postcards, which were popular collectors’ South America. The emphasis of research carried out to date has mainly been items. The purchase of porcelain items, tea sets and vases made of other ma-on post-war confiscations of private property. During the course of this re-terials was also popular and widespread among seafarers. They also bought search project, however, it became apparent that property seizures carried out silk embroideries, lacquered wooden objects, paintings, statuettes, parts of by the Nazis also played an important role. The exhibition includes selected Japanese samurai weapons, fans and various other small items. Some officers East Asian objects held by the museum as part of its Cultural and Historical also purchased pieces of furniture, especially screens. Collection that are presented to the public for the first time. For the most part these are various types of Japanese and Chinese ceramics made for export to the West and adapted to European tastes. The collection also includes East Asian porcelain with decorative metal mounts, of which few examples exist in Slovenia. 200 201 The Third Conference of the European Association for Asian Art and Archaeology 202 203 The Third Conference of the European Association for Asian Art and Archaeology 204 205 The Third Conference of the European Association for Asian Art and Archaeology 206 207 The Third Conference of the European Association for Asian Art and Archaeology European Association for Asian Art and Archaeology Organizers and Funding Institutions The European Association for Asian Art and Archaeology is the main academic society for Asian art and archaeology in Europe. It is an international, voluntary, independent, non-governmental and non-profit academic organisation representing professional art historians, archaeologists, researchers, students and anyone interested in Asian art and archaeology from across Europe and beyond. It was founded in 2013 with the following founding members (in alphabetical order): Nicoletta Celli, Patricia Frick, Julia A. B. Hegewald, Annette Kieser, Rui Oliveira Lopes, Shing Müller, Lucie Olivova, Mia Dora Prvan, Hans Bjarne Thomsen, Melanie Trede, Nataša Vampelj Suhadolnik and Elena Voytishek. It is registered in Ljubljana and currently has 350 members. The main aim of the Association is to encourage and promote all academic and scholarly activities related to Asian art and archaeology in European countries. Its main activities include: the organisation of regular conferences, thematic conferences, workshops, symposia, study events, and lectures. EAAA issues Newsletters twice a month, which promote publications and exhibitions, and disseminate information and resources – of all kinds and in all forms and media – related to Asian art and archaeology. It also issues Bulletins, which contain internal and administrative updates, conference an-nouncements, and surveys of Asian art and archaeology in various European countries. EAAA publishes the EAAA Monograph Series, entitled European Studies in 208 209 Asian Art and Archaeology, which comprises in-depth, peer-reviewed scholarly contributions on topics relevant to Asian Art and Archaeology that treat these in a wider Asian context. It is published in cooperation with Brill. Website: https://ea-aaa.eu/ The Third Conference of the European Association for Asian Art and Archaeology Faculty of Arts, University of Ljubljana Founded in 1919, the University of Ljubljana is Slovenia’s oldest and largest academic and research institution. Boasting 40,000 students and 6,000 staff, it spans 23 faculties and three arts academies. The Faculty of Arts is the University’s oldest and largest faculty. With over 700 dedicated teaching staff, it encompasses 21 departments, spanning 31 fields of science, and has established itself as a pioneer in Slovenian humanities and social sciences. With a vibrant student community of nearly 5,000, the faculty offers 34 Bachelor’s and 42 Master’s programs, complete with the flexibility to combine subjects. Rooted in Enlightenment principles, the Faculty of Arts is committed to fostering open-minded, critically engaged students and scholars. Upholding values of humanity, freedom, solidarity, equality, gender equality, and justice, it has earned recognition as a premier educational and research institution, both nationally and globally. The Department of Asian Studies (originally known as the Department of Asian and African Studies) was established in 1995. The Department offers an Asian Studies programme with three possible fields of study: Sinology, Japanology and Koreanology. These fields explore the culture, history, art, literature, so-ciology, language, ways of thought and political systems of China, Japan and Korea respectively, in the light of tradition, development and current social realities. The teaching and research at the Department focuses not only on the acquisition of knowledge regarding Asian cultures, traditions, languages and writing, but also on the relativising of inherited belief systems and thought 210 patterns that engaging with a specific cultural environment entails. 211 Science and Research Centre Koper The Science and Research Centre Koper is a multidisciplinary public research institute that carries out research programs, basic and applied research, and other public service tasks, and supervises the development and functioning of infrastructure within the framework of the Research and Innovation Strategy of Slovenia. Its strategic orientation is above all towards research activity in the humanities, social sciences, and natural sciences, as well as the transfer of knowledge and integration with knowledge centres within and outside Europe in the context of research and study. Our research focuses on ‘niche topics’ and is conducted in accordance with the criteria of scientific excellence. Special emphasis is also given to research in the specific environments of the Mediterranean and the upper Adriatic region. ZRS Koper is actively integrated in international scientific cooperation and is connected to many similar organisations worldwide. Researchers also teach at all three Slovene public universities, thus ensuring the transfer of research results into the educational sphere. The Third Conference of the European Association for Asian Art and Archaeology Chiang Ching-kuo Foundation for International Scholarly ARIS Exchange The Slovenian Research and Innovation Agency (ARIS) carries out legally des-The Chiang Ching-kuo Foundation for International Scholarly Exchange was ignated tasks in the public interest, with the aim of ensuring continuous, ex-established in January 1989. During the past three decades, the Foundation pert, and independent decision-making regarding the selection of programs has funded more than 4,700 research projects involving over 970 academic and projects financed from the state budget and other funding sources. In institutions and 3,700 scholars in over 60 countries. In addition, the Founda-2022, ARIS had a budget of EUR 274 million, with the majority of funds allo-tion has assisted 120 academic institutions in the United States and Europe cated to block funding (research programs, young researchers, and manage-in establishing over 140 positions in Sinology, Chinese Studies, and Taiwan rial, supportive and infrastructural activities). The state budget also provides Studies, clearly demonstrating its leading role in providing necessary resourc-funds for research projects and support activities (open access, international es for the development of these fields. For more information, please see our literature, etc.). ARIS promotes international collaboration and cooperation website: http://www.cckf.org.tw/en. with foreign agencies, facilitates the creation and transfer of new knowledge to direct users, and strengthens human resources. A portion of the funds pro-The Foundation is a significant advocate for Sinological studies in Europe, vided by the European Union budget is intended for implementing projects also offering substantial support to research in Chinese art and archaeology. within The Recovery and Resilience Plan, with which ARIS is involved as an Notably, it supported the 2nd EAAA Conference and the initial and third publi-implementing entity. cations within EAAA and Brill’s monograph series. Through rigorous academic exchange and collaborative efforts, it endeavours to establish Chinese Studies ARIS thus plays a crucial role in financing research activities nationally. New as an integral component of global intellectual discourse. legislation in 2022 has enabled it to expand its scope of activities into the field of innovation as well. This has injected new energy into the agency, encourag-The Foundation takes great pride in its close and fruitful relationships with ing development in innovation field. Altogether, this fosters the competitive-European scholars in the field of Sinology, Chinese art and archaeology, and ness of the national economy and the transition towards a knowledge-based looks forward to cultivating further friendships in the future. society. 212 213 The Third Conference of the European Association for Asian Art and Archaeology 214 215 The Third Conference of the European Association for Asian Art and Archaeology 216 217 The Third Conference of the European Association for Asian Art and Archaeology 218 219 The Third Conference of the European Association for Asian Art and Archaeology 220 221 The Third Conference of the European Association for Asian Art and Archaeology 222 223 The Third Conference of the European Association for Asian Art and Archaeology 224 225 The Third Conference of the European Association for Asian Art and Archaeology Map, Faculty of Arts, University of Ljubljana Conference Venues 226 3 4 2 1 1 2 3 4 Faculty of Arts, City Museum of Ljubljana Slovene Ethnographic Stazione Parenzana University of Ljubljana Museum Restaurant & Brewery WELCOME RECEPTION CONFERENCE VENUE SKUŠEK COLLECTION AFTER PARTY AND RESTORATION PROJECT The Third Conference of the European Association for Asian Art and Archaeology The conference is jointly organised by the European Association for Asian Art and Archaeology (EAAA), the Department of Asian Studies at the Faculty of Arts, University of Ljubljana and the Science and Research Centre Koper, Slovenia. The conference is generously supported by: Chiang Ching-kuo Foundation for International Scholarly Exchange Slovenian Research and Innovation Agency Faculty of Arts, University of Ljubljana Conference venue: Faculty of Arts, University of Ljubljana, Aškerčeva 2, 1000 Ljubljana, Slovenia https://ea-aaa.eu/conference-eaaa/ https://ea-aaa.eu/ Document Outline _Hlk142294632 _Hlk142218047 _Hlk142403046 _Hlk142394315 _Hlk142394423 _Hlk142394542 _Hlk142394621 _Hlk142395052 _Hlk142395111 _Hlk142395204 _Hlk142395398 _Hlk142390263 _Hlk142392885 OLE_LINK6 OLE_LINK7 _Hlk124286600 _Hlk124247045 _Hlk124247431 _Hlk142377675 OLE_LINK32 OLE_LINK33 OLE_LINK22 OLE_LINK23 OLE_LINK34 OLE_LINK35 OLE_LINK36 OLE_LINK37 OLE_LINK38 OLE_LINK28 OLE_LINK29 OLE_LINK30 OLE_LINK31 OLE_LINK24 OLE_LINK25 OLE_LINK26 OLE_LINK27 _Hlk142378004